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Keramic Studio

A MONTHLY MAGAZINE FOR THE
CHINA PAINTER AND
POA INGIR

Volume Seventeen

MAY i915 to APRIL 1916 INCLUSIVE

KERAMIC STUDIO PUBLISHING CO.
SYRACUSE, N. Y.

235525

HERAMIC STUDIO— Index

FLOWER STUDIES—NATURALISTIC AND DECORATIVE

MAY, 1915
Cup and Saucer, Wild Rose.................. Adeline More.....0....0....0. Sup
DESELT CL oe aedy cbse esi shared vce NS ch Oars a Mrs. F. C. MeGaughy........ Sup.
Apple Pitcher... ... Albert W. Heckman............ Sup.
Wood Violets.. ‘ pie) elanscomenss ee Sup.
Border of Mocntean Sater, ........Melvina Rushmore............ Sup.
Wood Violets, Photo by...................... Walter S. Stillman................ Sup
Pitcher, Daisy Motif.............................Mrs. F. C. MeGaughy........ Sup.
Blood Root, Photo by. Rey eee Water Sens tl iain eee Sup.
Plate, Thimble Berries........................... Jeanne M. Stewart.............. Sup

JUNE, 1915
Rose Plate.. ... Dora V. McCrea. .............-<. Sup.
FRosee lame Wu pease te 00 OR ye aye Weed Lillie W. T. Bennett............Sup.
Satoomenaowtl yellow and White,

HOnepeaibess ee. eres eaten sea DailiniPrrebex ww yess, Sup.
Rose Tray........ Edith Alma Ross..................Sup.
Rose Tray Border..........00-..-.:.4.-:. iniianeiricbe ses ers UD:
Sugar Bowl] and Creamer..................... Ida N. Cochran......0........... Sup.
TABate et. Paella @o chranieensrie a area Sup.
Rose Bow]..... SLES gener » Adeline Moremeseen pres Sup.
Jack-in-the-Pulpit. Pe Many ale bein veer ean eee Sup.
Gp andsSaucen ss ye: Dora V. McCrea................- Sup.
Little Things to Make..... eee Donnis: 2 Mills... Sup.
Jack-in-the-Pulpit, Photo by................WalterS Stillmen: Em, Po Sup

Plate in Wild Currants........0........0....: Jeanne M. Stewart...............Sup.
Platycodon Grandiflorum........................Lillian B. Sturges.......0......... Sup.
Alpines tame bel erees ieee asset pes ee Edith Alma Ross..................Sup.
Plant Analysis, Gloximia........................Mary L. Berry................... Sup
ven & PrimnrOse. ccc s.e-es-cecrtte eerie nee Eleanor N. Harlow.............. Sup.
Plaine te eta. eter a | Lucey M. Shover....,...........-..: Sup.
Mote aareles eke eee Marion L. Fosdick................ Sup.
Seen EE SM RT PCTS, SO Ce al Marion L. Fosdick ............... Sup.
Plate eA COLNS Seer higse tay tke a ee ate Adeline More...............-....-.- Sup
AUGUST, 1915
Wald TROSGIPIAGER sc 28.7 cetee sry eke Adeline More............2.:.0.-+:: Sup.
Flower Arrangements on small pieces..Derris D. Mills...................... Sup.
Honey Jar, Wild Roses and Bees........ PRIA Ses bbe Ly seer ee Sup.
Honey Jar,Bramble Roses..............000.... Ima RAGCOR ae eure: Sup.
Plate and Border in Gaillardia............Nellie G. Leyman................. Sup.
Apple Blossom Panel...........cccccccr0e: Albert W. Heckman............. Sup.
Wild Flower Sketches..... .............0...... Florence Wyman Whitson..Sup.
Nature Study, Snap Dragon....... peo Vicinv ail crnyemee ee eee Sup.
Plant Analysis, Monkshood.............0...... Mary LL. Berry................. Sup.
SEPTEMBER, 1915

Plate; Hazientitin weeks aster es, celine sioner. sane Sup.
Fico Giiprand eins a ere eA Ces harraccs lesan Sup.
PIB EE MEOSES: eee et i RAM se Bey dea as Hissicetlol ey 5a anne Sup.
Plate, Cup and Pitcher, ee Blos-

soms.. veer Scie Holeveues meee cnaee Sup.
Bowl, Paliyeia oe .. Kathryn E. Cherry............. Sup.
PplaciiqeAtl aly Sisae smn we) iene ee eave Florence Wyman Whitson Sup.
Plate, Orange Blossom Motif................ Anna @. Wailller.......--c0e0- Sup.

OCTOBER, 1915

Ac hadled bzhitee peat ett eerie a re ee ee Dora V. McCrea............0:.. Sup.

Marguerite Studies and Borders.......
For Small Pieces, Marguerite Motif.....

JULY; 1915

» ida Upton Paine... 4...

Ida Upton Paine.................

Rattlesnake Weed............ccccscessere: ant Albert W. Heckman............

Devil's Paint Brush. esse ae
Plant Analysis, Larkspur........0...00.0......

Dandelion Studies.
Rose Bowls.........

Many: lin Berrys cco een

Mary L. Berry...........:.00001

“NOVEMBER, 1915

Creamer, Cup and Saucer...........
Chinese Arrangements of Flowers from

Water Colors loaned by..

Sup.
Sup.
Sup.
Sup.
Sup.

Ruth M. Ruck... Pops
Alice B. Sharrard......0.0...0... Sup.
ae. JE SSIOW OE yer pemenererie cene ter Sup
Ne Minish) Ne Bessa heeers ee Sup

|nioh ie

> O Or or ® HB OO ND

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Japanese Photograph of Iris

loanedibyaven mateen staan er Mrs. A. B. Smith.............. Sup.
Japanese Photograph of Chrysanthe-

ran WATY, WO} NOEOL LOW ei. dg dete eo Mrs. A. B. Smith.................Sup.
Plate and Border, Apricots.................... Nellie J. Leyman........0...0..... Sup.
Double Cherry Blossoms from Photo-

graphs loaned by...........-..-..-:ce:c001- MirswAl Be smb hve ee Sup.
Tho Vesin=the=mist cscs ee ccecepesettestess Wibhinialin lesan gee Sup.
Plant Analysis............. ee eee ee Florence Wyman Whitson ..Sup.
Plum Blossom and Bird from Japa-

nese photograph loaned by....... cee ANUS IAL ABST OTB Mee Sup.
Fruit Borders for Plate.........0..0....00.. IMI AGH INR Revie of Sup.

DECEMBER, 1915
Plate, Cup and Saucer...........0......... =o Mrs bouise Wilisn ewe ae Sup.
Siva Shakers eee teres Posllbooapre peearts PIRES ISNA a cece cse ee Sup.
Rose Cup and Saucer.. pete te dba ID IanoR Coe ek Sup.
Desionstonselaier een tees eran Worse Dr s\Vinl sae see Sup.
IBGOW ARR ETREUN OFS 28 open coer ede peeve preety VA Ga Miverse =. eee Sup.
Violet Cup and Saucer......... ..M. C. MeCormick............... Sup.
Draw ST OLSELO)] Ly gee ee ier se a eR Reece, fate eee Ee Sup.
Flower and Fruit Plate Borders.............M.G. Myers.........0ccee. Sup.
Plant Analysis, Canary Vine.................. IW Maya be IBA ea Sup.
Drawing ofS MiStletOe terete cn tasnecarn traeese ete) errr teen Semen Sup.
Plate, Orange Blossom Motif................ Bw ViG Grant: thyeerser ioe Sup
JANUARY, 1916
BIS GU tie) Ace ee eer Barr yekbey Ate deri Ida Upton Paine................. Sup.
Studies of Bittersweet.......0..00c::ceee RVR Wieisk Op lmere.efreny, eee Sup.
Panel, Bittersweet.........2:::csenaecneee F. R. Weisskopf................: Sup.
DetailseiromeBibierswice tess aeya wees see oe eer eae anne eee ae Sup.
Plate Border, Orange Blossomas............. Eula L. McElhinny Lee Sup.
Plate Borders.............. Pee eS AS J Mis Gainers eee Sup.
Semi-naturalistic China Set.............. .Mrs. Ida N. Cochran...........Sup.
Wioletulalate re mtnce tice nae tee etn eee Mrs. Ida N. Cochran............ Sup.
Plate, Cup and Saucer... , spiecen iN op Ure EO IIIS Stes etas2r-n eset peas nee Sup.
Cup and Saucer, Orase Bescon be Hadith, Maller 02 oes Sup.
FEBRUARY, 1916
Cranesbill... Fe een ee core ELO WVISUTLCOMIS gay uae eee SULIT
SSLUUAC HKG SPAN ee ae abe ees rasp eoseae teupacen we NUR Ta \WVE TRCN eect Sup.
Brush and Comb fey, bs RET ROR ReaD M. C. McCormicek....... .......Sup.
Mountain Laurel...............0..... SE redo M. H. Watkeys.....:..ccccn: Sup.
BOUTIN GAB CU meets tieneeaiees cree earncrr ee MG CACSYCIC han lneenne reno Sup.
Conventionalization of Bouncing Bet...M. A. Yeich........ Sup.
‘Warlclé@]erricrtri sae meee eee yee once M. H. Watkeys................:-- Sup.
Bleedinowyern toy: erin aeee: eee essere eee Me slslom Vitek tk cys ements Sup.
Wild Columbine......... sof 3e NCE UgoEEIea Ee et M. H. Watkeys......0...02.4..5 Sup.
MARCH, 1916
SNe DIMMER oo te Goth ee eh oA hin 8 Adeline More.....cc.c::cccc Sup.
hemonad esbibChery. waa) ete. cee Adeline More.........................Sup.
Plate, Wild Roses.........50.008 ee Adeline More. ...1....:.0.-:0--0:: Sup.
Games ates. 0) oe eee Siem aA ali ines Ones napa a rate Sup.
DEES ov SHEET ee geees acces areg aeeeetonnt abuts Adeline More........,.....:....:.. Sup.
Dinner Sepa eee ce ae ee eee, eee Kathryn E. Cherry...............Sup.
Bunehie ofa letigocce 5 ves reer ee pereeeesrectces Adeline More.........:..::0000 Sup.
BG wil Sere ee¥tecraear tess ese rap atte. <slows raaptee boy eos Kathryn EB. Cherry...............Sup
APRIL, 1916

Bindssancl! Bines Congas. ae ree Adeline More...........2..0:2:20+ Sup.
SLIDE NST} Papers nettle amerac Ura arse gy ant . Walter Thine ceeaeste Sup.
BowlltorsPlatesDesiga. en. e see oe Walter K. Titze..... Sup.
LS Oe ose a ae Peet oes vel va STR PAE cP Kathryn E. Cherry...............Sup.
GN Ces or 0s eis os ety A Rg ee Marion L. Fosdiek................ Sup.
SPMTNO AMEN MB YopG IBNOICS yin er nye Kathryn E. Cherry...............Sup.
(SPAMU TSS ERM ce ele Me plhereaeerhe creep arenes pref ida Ne Cochrane 2-2... .. Sup.
Small Grape Pickle Dish..........00........... Dorris Dawn Mills................ Sup.
EL OULVIMOGIES? eer Ft. cs, ESC cella SERV R aT ROT PORT eae OOO Ee = fot Sup

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HRERAMIC STUDIO—Index

CONVENTIONAL
MAY, 1915 Page OCTOBER, 1915 Page
PALSY Sci AO PLS gy Pe RP AO FeO Ae NIG wNicWormick=, eae ees 41 Feytice TRATED. vo, sseeteecgcu seer n ace SO CrERIDIEVE Teun, ee eee 80
Cup and Saucer, Plate and Pitcher...... Albert W. Heckman............... © Cup and Saucer... on, Rd Diora IOW WMG, eo ace ee 81
Plate Borders... 0-10.) cies Gertrude L. Durand.................. UWS Oh Narr stalen ie ees Cone Albert W. Heckman.................... 81
Creamer and Sugar... shin Bi DAG eae IRIGAT SAU INOSBr-.ersrccabee ice tera tree 11 For small pieces from Mississippi
Bowl, Pond Lily ee ceslexs iescyst ae an Ae A Stewart HB. Mayer......02.....22:00: 11 \VAap AGNES pe ee Fula L. MeEIhinny.............. 82
Conventionalizations of Black-eyed Plates and Borders......... Repke dh cen un Eula L. McElhinny.......0..000-. 83
SUI SAT MN MOL PROT eee ALLS, RUSE. coer IVIMMAWBNICIC Lic. hoet ba aa 208) tit ae! 12° Gaicer and Bread and Butter Plate......leah H. Rodman... 84
ihocolveulo meee terrence er eerie cast Gertrude L. Durand.................... 13° Vegetable Dish....ccc.:s:.:sssssccssessessseveeeosen ies eeaibiieste enn. 85
Owl Tobacco Jar. ec ee ei Florence A. Huntington............. Ema Ten pets eR ebarand nb tanta thc eatanll Wrewilay 1AL, RKObARUA se une 86
ue Ise IR esmon Dine Rn Sete ae) veer) aie Weather od nantes wareees. eter 87
Seat (Omenpayes Tye oi tee elles «ON aS Albert W. Heckman.................... 88
ain Se AAS OSS iDiayca hae Gara OE 19 Mississippi Wild Flowev...................0.+. Bula L. McHlhinny..................... 89
Pd eagites IDYE rea aS3e" 5 set ialer es een Pn arene ra Lillie W. T. Bennett.......0...0..02.. 20-21 NOVEMBER, 1915
Plate Border and Tray......................... Mrs. Ray BH. Motz... 24 ’
JEXorms 1BYora) Jeiob-c WN Ws oy yates ee ee ..-Mrs. Ray E. Motz......... EARS: 2B, (Cinyoy Shak SHEE we oes ce eeentocotinnee ne Madge L. Gibbons........0.....0...... 92
Marmalade Jar................... Pec it AEEE Mrs. Ray BH. Motz.......0........: rect ef SERIOUS IBYOD SW oa ereak ag Gots ose ee merce cee Maw B. Hoelschev..............2..... 92
Bowl, Rose Motif.................................Hleanor Stewart............... aes POSS ADravar PAHS 4 -e oescsctynercapce encore earners Nile (Oo Ia Clovemannale., Srey ose ame 93
Bono, bein AROSES. aye eres TBI EY vhs DECOSS ee cece, ce reer oes PAF AD ARENA APART tRee st sete sya ieoece sors eaouccveneee Toe AMEE ie ene ey 94-96
Eerste] arti ce rare yeaa nie nent aanene sen ee Henrietta B. Paist............ 97
JULY, 1915 Plate, Cosmos Motif..........0..5.. riod chine Hannah B. Overbeck................... 98
Plate, Bowl, Cup and Saueer................ Jeannette Slocomb. .. Bese B 99
ROU SISO SapeR en are heme tarert. -zeart Albert W. Heekman................... BO EAD Rt ee hae eine er eae Ree fra, td Rinstondi ID, WERT ...0 1.0.00. Al0t0
Plate... ie Cate tscrhe cer agaist Netta Botts... es 37 Bowl and Plate Border.....c.cccccccccc (Gina JEW TEL fo Pecos ce ees mes 101
Design for Sugar and Creamer... area L. Ee 37 Conventional Bowl... _ Albert W. Heekman........:.2....- 101 -
Breakfast Set, Platter... Paracas G5 ADA th a Peete toe ee ok Madge Muney........ sstlpertogyesnnnse “102
Belleek Vase in flat Color... peg th aarp May B. Grant panateat buele stat 39 Snow Bird Design for Chop Plates. blentietta lS ePaiste. sesqunen ic. 103
SST SUCVAN CES re ccea sacs sss Seatac os ene ae eee May B. Hoelschev...............0........ 405 SPlnte. Or ange Blossom Motif... _ Alice Seymour.....2....... a 104
Cup and Saucer. ee eremare Vaya ver beck: ewes saa net 40
VB ehiresual IOs aaa SS 5 2 eee eres PACE WEY MOUN ere ree eee eee 4] DECEMBER, 1915
IBElIEeka sO wit cere ane eee areca Dorothea Warren-O’ Hara........... 42 ae
5 Drsitiin 1icyall SEiiee tn ene oe eee ee TAO, UTS oes congo scene 43 Vase, Wistaria.......... dete hoes Ve eon Blinains, URaybers eases EE 107
Forget-me-not Plate... ....ccc ce INGIIES he Gr0 cle ane meena pene teres es BAe cr ucttl BORIC hose hs ah slel MiiMelsalarcnitueneu len 114
‘ i z Designs from the Zimnia....................--. Ruth MacCollin....0..00.. 115
5 AUGUST, 1915 Rose Border and Plate................::00005 Nellie G. Leymann. ........6-cc.e0: 116
CO Pe ea See Niet aber phan deen. 47 Govercdelhiound Sh Ox ye eer Albert W. Heckman.......0...0000... 117
VEO lL a ceoscped ects Ren eae Bee eee Gress oo eee \Fiod ecard Rt, MMM See i ahrore cee 48 % 4
Bouillon Cup and Saucer......0....0.......4. Ibolky JA St AOD eo eee 49 BPN ne
TO cece meg ec pret eas Hlorenee R. Weisskop 120
ICE Tied cnc. eynes Wy, RGMET: Waticc yee. ir 5] Bittersweet } Motif Sim RAN Cone severest Florence R. Weisskopf 129
(Chika SREP Ry) hay See Nc eee View @eVic@ orl Chea eremee nee 52 punch Bod Bittersweet Motif.......- IUD IGNE 1 WAI SS) ae 1b
Vase in Gold and Lustres..............00+ Albert W. Heckman...................- 53 Borders, Bittersween. gicsea aSee Te tai Blorence R- igissront Ge ahs wa pol
Forget-me-not Bow]............:c:ce Albert W. Heckman..................... 53 Bittersweet Motif... be ens com sein eS eG Florence R. Weisskopf M eget 132-133
Medallions and Hat Pins in Bright Conventional Narcissus...........0.0.00005 Florence R. Weisskopf................. 138
CA oN ee el hha Mi) He RM SEIScOLee es 54 Gipmnds saucers: erie eee Albert W. Heckman .........--...--- 134
Plate, Conventional Peacock.................. Edith A. Ross..........0 ees 56
Conventional Flower Design for Plate. May B. Hoelscher...................... 58 FEBRUARY, 1916
SEPTEMBER, 1915 Water Pitcher, Iris Motif.......0..00.00..0... leah -HatRiodimant.,.... sesso 139
TE) Byte DIE Stay syjaneernoee bee ce ta ner Ree te Florence R. Milton............0........ 140
Plate, Mountain Ash Berries.............-..-. Mrs. Arch Coleman.........:::s00 63 Design for Dinner Set.........00..---- Florence R. Milton.................... 141
TPES Es DOS ae ee eran oe Frances E. Newman................+ 63 Vase, Flying Bird Motif... Henrietta B. Paist............. seeeeeseens 144
Chocolate Pot, Violet Motif...........0.00. INL TED ip BYS1eG tee men cane 64 Dutch Boy and Girl... he die Seas Aa oie crimes 6 IES:
Fernery Design, Morning Glory............ Frances E. Newmab................... 64. Warkspurs Motive. secs ec nates os Hazeltine Fewsmith.............000.... 146
Satsuma Creamer, Nasturtium............... Mirisex@ oles’ alter .e eases 64 Larkspur... eee teeters Hazeltine Fewsmith.................. 147
Bowl, Nasturtium.............ccese0ceeseee Ore WH WHILE?, seu Reese. Gpmeelanmalade Jats neste n--avereecsetes gaara TBbeneey To, Ja RAeIte sp eencn tne. erro 148
Belleck Bowl, Wild Grape Motit........... IeeAWE ow Devan teehee sesct 66 Tile, Formal Garden Motif.....................M. L. Brigham..........000..0... 149
THT ee agit a> ce Migs miaRNATESLE Gree 66 Salad Plate and Cup and Saucer......... May B. Hoelseher......0...000 150
Satsuma Bowl and Plate.......0...00......- M. Etta Beede................-:seee 67
Vase, Jonquil! Design.......0.....0.0- Pairs Olern am ap tee meen nearer 68 MARCH, 1916
TENA ir Re on eee ON ieee 5 ee end ae: Frances E. Newman..............-..-. 68
Bindsonebrancha este e ee, ae Florence A. Huntington.............. (BEY WARYO Ny Aly cot ae he Rl cr Pa ey Dorothea Warren-O’ Hara........... 160
late; Wviloumbamme Ashe 28 cate, ce. Florence A. Huntington.............. 69 Little Things to Make, Chicory Motif..M. A. Yeich....00.cee 161
Plater aNarcissuss pth ge yer ce stgkasceeenvy (Obie ANS AWM athe coer A 70 Guest Set....... Lett cade sector Reece Reaee ce Liandoveyines (Chea. cs om onncue 162
Acid Etched Plate, Rose Hip Motif......b. A. Mowbray.........-eee 70) Bibcher, Guest Sete. m--scete Ketbryni Gheenye wes een eee, 163
Smal leben Wwilitincee crete rhs. e Florence A. Huntington.............. 71 Individual Sugar and Creamer............. Marguerite Cameron.................. 164
Miles ome wD ra yoni see, ess te OTA AVS WIR IGG se een at decane: 71 ‘Two Rose Bowls:.... .....0.-.2-.5 in Aeeres Albert W. Heckman..........0.......... 164
Lustre Vase, Tulip Motif.........00....0.. Hae Ata WO wir eryieee. cesaeenuessasee- TO) (QO icine $e Beste Pe By Henrietta B. Paist.......-....2.:.00 165
Lotus Design for Jardiniere.................... Mrs. Arch Coleman...................... 72 Detail of Bowl... trees Henrietta B, Paist...........-.:.+-:00 166
Enamel Design for Coupe Chop Plate..Emily Hartwell Tupperv.............. Tome Bow leo sea WLOtrie o aay-nt ones Henrietta B. Paist...........00.00....... 167
Morning Glory ENGST ey ee pe ese Florence A. Huntington.............. 73 Vase, (Glace MUP yoked ora HlensiettanBs aisle seca: nec 168

KERAMIC STUDIO— Index

CONVENTIONAL—Continued
APRIL, 1916 Page Page
Strawberny Border... ..0.).0..00 oan TROD OY Ws TRO earn e, LZ4> “SNe: enh nok cra ce es ae Ls a JXathryn Lindsey Perkins........... 180
SEMEL Oe WRU SIS eo naseduaa snags teens abe Kathryn E, Chemyan ens i477) Salina delep cha an teahv Rodman nee 181
PTA TORE sta en eed. ROLant Scraiere aie Mer a oe Albert W. Heckmam....0...000...2. 7AGy — TBAANEOS WBYON TL o. say eneee Dorothea Warren O’Hara........ 181
Teapot, Wild Rose Design...................... Hannah B. Overbeck................... 176 Bread and Butter Plate ,Orange Blos- )
Sandwich Tray, Wild Rose Design........ Hannah B. Overbeck................... 177 SOTIS (sees PRO Ah is te A oleae Thole ASW es HOM oy ee ee 182
Plate, Mountaim Ashi... oe clot @ es Hanilin cee enee eee 178 Little Things to Make, Fruit of the
TBXOrmn TBYONa LOS ok a ae na Bocca nh ke eae Mabe skinny ieee niente oe) eee 179 Dogw.OOUe aT ine rss eee MEAS eich. 4 ae ee eee 183
MISCELLANEOUS
MAY, 1915 Page OCTOBER, 1915 Page
Design and its Application to Porcelain Fawcett School of Industrial Art, New-
JETRO) Maram TY oak Bose tiesto sogsnogln sab aan: HEB ViBaISt,..c5/e08e eek oe) ees 2-3) RBS Ar INR en UR rat crs. ml Cctean Ass mae 2 ca RU ee 76-80:
Burleve Ws CO aS eb exini loll OM reese eae ee oe ae ene an 6-10
JUNE, 1915 DECEMBER, 1915
Teaching Design in Class... 0000000000... Till eRWE els. can cy iaeameenen ern 18 Den ana AAR ees ae
Chautauqua Class.........0..0cc:ccces Mrs. L. Vance-Phillips................ 22-23 gee ak oe rg eieesoboie they oxee an F Ben
Ceramics at Chautauqua............. tbe aa, Mrs. L. Vance-Phillips................ 2608's. Wl) RECESS oi ace rre nee ge ie ae Sy aa ie Fae eh (Malt a
Newark Keramie Society..............000.... Mrs. L. Vance-Phillips............ 108-113
JULY, 1915 NEON OPT a 11151 eee eee een ct pe UN NURS Fone nl ogra sg 2 ts eee eee 118
Design and its Application to Porcelain, JANUARY, 1916
een BG Hope igs A. By Past. eee 32 The Weakest Link in the Chain........... Anita G. Chandler... ....... 119 and 134
18 “ Co ans sie Paar ibition, National iithesBunleyethx hil iti one same see ee eee ee ee 121-129
Societe Ole CrattSmienty a tc. casp-a. keegan oa se 83-35
FEBRUARY, 1916
AUGUST, 1915 i
Chicago CeramiceArtAssOciatione seat) aa) ae 136-138
Design and its Application to Porcelain Phil ; ene ;
adelp hia ceixbi ites) Be ry, Re eee ce ses ie ere 142-143.
Bro DUG te: Sten oe, vcorgehe oer EAB A Paiste. ae ee eee 46-47 hee Tae a ; @
IW orkso feces Austins blG LO el Vlei O1iee ©) ean eee eee ee eee 55 MARCH, 1916
Mis Chernyss | Classuiaelenncolinyw Nels ..e eee ee ene ren 57 :
SUCCeshlONseOTs dnt) Se wanes ee eae ee! cote eee eee em 57 The Art of Table Decoration................. Milas hy eyes vee 156-160
SEPTEMBER, 1915 APRIL, 1916
Twin City Keramie Club......... ch fey ei hs URE ieee ere 50=61F miGeoinner’s: Conners ay te. ee ied see ek 184
COLOR SUPPLEMENTS
Treatment on page Treatment on page
Belleek Tea Set......... .1s0.-Dorothea Warren O’Hara...May 1915Sup.3 Japanese Cranes... Marie White.....................October 1915 Sup. 1
Bleurclew hiss moe weet eae levee df, Jehulboove oo a May 1915 “ 7 Mountain Ash... Margaret H. Watkeys.November 1915 ~ 7
Rose Designs for the Country IDYesireaal oye TV EKOROK a a J. KX. Heismann............November 1915 ~ 6
IKONS Ho tee. © ere eb heen e AYE ISG, GDM reese ewes op dune’ LOIS 18 Peacock Tankard Design............ Adelaide A. Robineau..December 1915
OSC? Plate ty cer ee cot Res gs Fs Adeline More........................ June 1915 SOM weReA COCK Sire cette eec ter ee Will Rannells................. December 1915 “ 6
Black-eyed Daisies.........0.00....... IBE INfo JaNAl OMe hsnvnatooe July 1915 Bil IDYesiveral woye IPB BR Weisskepf January 1916 “ 1
Bowl, Persian Motif..................... Albert W. Heckman............. July 1915 AS,” “BROSES = es acne: matics: copes turin eae Jeanne M. Stewart.......... January 1916 “1
Bowl, Orange Blossom Motif....Dorris D. Mills.................. August 1915 58 Cup and Saucer, Shaker and
Meawsebay = ee eee ee Adeline More....:..2..........-.. August 1915 58 Greamer a ene Eee the Albert W. Heckman... February 1916 “ 8
Plate, Orange Blossom Motif... Mrs. F.C. MeGaughy..September 1915 TAM @EBINGBNASC Ss peel oe tse: oe Bie Katherine Perkins........ February 1916 “ 1
iByonall sHavGl PARE co nora oe Henrietta B. Paist........ September 1915 62 Contaurea Americana.................. Joseph Kallaus................. March 1916 “ 8
Tea Set in Gold and Silver......... leah Hi. Rodman.............. October 1915 84 Dinner Set, Bridal China............. May B. Hoelscher.............Mareh 1916 “ 8

_ te Re +p

CONTRIBUTORS

JESSIE M. BARD
GERTRUDE L. DURAND
L; E. HANSCOM
ALBERT W. HECKMAN
HELEN J. HULME
_ FLORENCE A, HUNTINGION
STEWART E, MAYER
M. C. McCORMICE
F. C. McGAUGHY
ADELINE MORE
HENRIETTA BARCLAY PAIST
EDITH ALIA ROSS >
pt ih Sere Aenian Inefltce
JEANNE M. STEWART
WALTER S) STILLMAN \
M. A, YEICH Say noe
BURLEY & TYRRELL COMPANY'S
EXHIBITION

ie a WAY MCMXV - Price 40c.. Yearly Subscription $4.00 wae
WG & | 5 AN

t - @th ¢ y x,
\ d ao & 7
Or) ai ee a __ Aw p — na 3 oan: speny-e,

AMONTHLY MAGAZINE FOR THE POTTER AND DECORATOR

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF MAY, 1915

Ser Qa

. Page
Editorial
Design and Its Application to Porcelain (Continted) Henrietta Barclay Paist CIS
Plate M. C. McCormick a 4
Cup and Saucer, Plate and Pitcher Albert W. Heckman 5
Burley & Tyrreff Company’s Exhibition 6-50
Plate Borders Gertrude L. Durand 10
Creamer and Sugar, Daisies Edith Alma Ross as
Bowl, Pond Lily ; =: Stewart E. Mayer ; : 16
Conventionalizations of Black-Eyed Susan M. A. Yeich {2
Chocolate Pot Gertrude L. Durand US
Owl Tobacco Jar Florence A. Huntington 14
Answers to Correspondents 15

NATURALISTIC SUPPLEMENT

Cup and Saucer, Wild Rose Adeline More i
Bands Mrs. F. C. McGaughy 2
Apple Pitcher Albert W. Heckman S
Belleek Tea Set (Color Supplement) Dorothea Warren O’Hara 3
Wood Violets © L. E. Hanscom 4
Border of Mountain Violets Melivina Rushmore 4
Wood Violets Photograph by Walter S. Stiliman eS
Pitcher, Daisy Motif Mrs. F. C. McGaughy 6
Biood Root Photograph by Walter S. Stilman 7
Fleur-de-Lis (Color Supplement) Helen J. Hulme 7
Plate, Thimble Berries Jeanne M. Stewart 8

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STEARNS, FITCH & CO., : SPRINGFIELD, OHIO

SYRACUSE, NEW YORK

May 1935

HIS month Keramic Studio is Sweet
Sixteen. We wish you and our-
selves many happy returns of the
day. May our shadow never grow
less! The ceramic sisterhood have
4 two more honors to add to their list
| Mrs. Dorothea Warren O’Hara has
lately received Honorary Mention
for crafts work by the National So-
ciety of Craftsmen, and the editor,
Mrs. Robineau, has just received the Bronze Medal of the
Boston Society of Arts and Crafts, also for craftswork. She
is also much gratified to hear that her exhibit of porcelains in
the Arts and Crafts section of the Panama Exposition is
attracting much attention.
wh OO
We have photographs of the work of several societies and
schools still on hand to be shown in Keramic Studio. It is un-
fortunate that many are so late in being shown, but we have not
the space to give them all at once, especially as the naturalistic
contingent of the ceramic workers have not come to our support,
since we have gone to the added expense of the extra naturalistic
supplement, in sufficient numbers to warrant our publishing
extra pages for this purpose. We hope that these trying times
will not last much longer and that ceramic workers of every kind
will flock to our standard, making it possible for us to add the
other improvements that we have in mind. Weare hoping be-
fore long to bezin a series of articles on the ceramic work at the
exposition. If the editor had been able to go to California as
planned, she would have written them herself. We are trying
to make arrangements with some one else to furnish items of
interest in the ceramic line.
x OH

UCU EaKaKetere

It has been a serious disappointment to give up the Four
Winds Summer School, but the editor found that it interfered
too much with her own work, and every moment counts in a
craft so long and arduous. Mrs. Cherry, however, will teach
in San Francisco this summer and in other places in the west, so
that students will not lose the opportunity of working with her
if they so desire.

We will have to again ask contributors not to send any more
designs until notified in these columns. We are deluged with
contributions and must lower our stock before we can accept
any more. Our only need at present is for the naturalistic sec-
tion. It seems very difficult to find studies of flowers that are
at the same time dainty, well drawn, and adapted with any
originality. So few decorators of striking ability still use this
style that we are forced to give some very inferior things from
time to time in order to fill the eight supplement sheets. We
will do the best we can in this line, however, though there seems
to be but a small number comparatively doing this work, judg-
ing by the limited number of subscriptions we receive from
purely naturalistic workers.

The opening of the French building at the San Francisco
Panama Hxposition calls our attention to the curious fact that

France only of the five great nations at war has kept her prom-
ise, and has made an exhibit surpassing the efforts of all former
years. We give below an excerpt from a San Francisco paper
giving part of the opening speech of the French Commissioner:

“In this national pavilion, which is a reproduction of the
Palace of the Legion of Honor, and which has been reproduced
by means of special molds made in Paris and erected here within
a few months through the genius of our architect, Henri Guil-
laume, we desire to present an expression of French art and
genius. We have loaded on the Jason, which I hope will soon
pass through the Golden Gate, a veritable artistic treasure chest
filled from our museums. Gobelin tapestries, Savonnerie car-
pets, furniture from the Mobilier National, all will evoke the
past.

“On the other hand, the labors of our architects and of our
decorators will demonstrate the creative effort of which our
modern artists are capable, and the canvases of our masters will
show the evolution which our art has accomplished during the
latter part of the nineteenth century, finding its ultimate ex-
pression in the paintings and sculpture exhibited in the Palace
of Fine Arts. Moreover, a library, selected with care, will show
you French genius in the various domains of thought. Lastly,
numerous relics will recall memories which are dear to our two
countries, for they cause to live again the time when our two
peoples wrote together one of the most beautiful pages of their
history.”

China painters have a peculiar interest in French art, since
through the French the western art of porcelain making and
decorating came to exist. No doubt there will be in the present
exhibit many beautiful porcelains, ancient as well as modern,
and all who attend the fair will do well to include the French
Building in their sightseeing.

eae
STUDIO NOTES

Mrs. Kathryn E. Cherry will begin her western tour June
Ist, and will stop at St. Paul, Minn., and Lincoln, Neb., on her
way to San Francisco and Seattle. There may be other towns
on the schedule which will be mentioned in the next number of
Keramic Studio.

Miss May E. Reynolds of Chicago, Ill, is to be in San
Francisco in the early summer with headquarters at Dorn’s
Studio, 251 Post St., where she will have an unusual exhibit.
Miss Reynolds is already well known to the lovers of ceramic
art in San Francisco.

Mr. Edw. F. Christman, general representative from the
Coover Studios has just returned to Lincoln from an extended
trip to the Pacific Coast. He tells of the increasing interest
in better work in conventional decoration and how it is coming
into greater demand through the progressive studios in Texas,
New Mexico, Arizona, Colorado, ete. In California interest is
centered on the Exposition. The displays at the Palace of
Varied Industries and the California Building certainly show
conventional work at its best. Mc. Christian expects to make
the trip to the Northwest and revisit the Exposition cities in
the summer.

DESIGN AND ITS APPLICATION TO PORCELAIN
Henrietta Barclay Paist

PROBLEM XIII. COLOR HARMONY (Continued)

LL: us first try to fix the terms of color clearly in the mind.

These terms are so often misused and interchanged that we
will do well to note carefully the definition of each and try to
visualize them in the mind’s eye. The term “HUE” is used
to differentiate between pure colors, to denote the steps from
one color to another, as Yellow, Orange, Red-orange, Red, ete.
It is the first quality of color. The second quality of color is
intensity; it has been termed “CHROMA” and denotes the
placing of a color in the scale from purity to neutrality (the
degree of neutralization). The third quality is its value and
denotes its position in the scale from white to black. ‘‘There
is a difference between the quality of light and darkness and the
quality of intensity.’ The value of a color depends on the
amount of white or light contained in it. Yellow or Violet are
extremes in the value scale. Green, Red and Blue are inter-
mediate. (See Diagram 2). This diagram shows the proper
position, on the neutral scale, of each color in its fullest
intensity.

Tints are obtained by adding white to pure color—by
raising them in value—and have less attractive force than the
pure or intense colors. Yellow, Red and Blue (commonly
called primary colors) are the “Elementary forces of all color
expression.’ Yellow, is the luminous element; it is the pierc-
ing, traveling, progressive color, the first to reach the eye.
Red, the second element, expresses fire, passion, temper; it
irritates the optic nerve, it absorbs light instead of reflecting
it, as does yellow. Blue, the third element, is the distant,
receding color; gives perspective, but is unsympathetic
and cold.

All of the intermediate HUES are produced by combining
colors adjacent to each other in the scale. The greyed or neu-
tral colors (shades) are produced by combining complemen-
taries, i.e., to soften Red, add Green and vice versa; to soften
Violet, add Yellow, ete.

COLOR RHYTHM

Taking the color chart in its full intensity we find on both
sides a related movement from light to dark, making a color
rhythm (Diagrams 1 and 3): Also taking each color separately
we have a rhythm of hue—a value rhythm from the palest tint
to the color in fullest intensity. To procure a rhythmic
arrangement of colors, we must understand color values. (See
again Diagram No. 1.)

COLOR BALANCE

The balance of a color scheme depends on the distribution
of the colors according to their attractive foree—on the proper
proportion of each color in the scheme according to its intensity
and color value.

COLOR HARMONY

A harmonious color scheme presupposes an arrangement
of colors according to the principles above stated. There are
two kinds of harmony, “analogous” and ‘‘contrasting.’’ Anal-
ogous harmony results from a combination of colors closely
related in the scale. Contrasting harmony presupposes a com-
bination of colors not closely related, or opposite on the chart.
(A combination of Yellow, Green and Blue, produces analo-
gous harmony—A combination of Yellow, Green and Violet,
or of Orange and Blue, that of contrast).

One cannot hope to obtain color harmony without an in-
telligent understanding of the attractive force of colors and their

KERAMIC STUDIO

relation to each other. The attractive force of a color note
depends on its intensity plus its value and its contrast to the
background. The attractive force of Orange or Red on a neu-
tral background is much less than on White, as Black has less
attractive force on Gray than on White. It takes a very small
area of any pure color to balance a large area of a neutral shade
—greyed color. Our Problem then is, the proper proportion
and the distribution of colors according to their attractive force.
With these fundamental facts we will proceed to our exercises,
which will help to fix them in the mind.

EXERCISE

Study well the color chart, showing position of HUES in
their relation to each other, note diagram No. 1, showing posi-
tion of each Hue on the neutral scale, determining the value
of each. Note diagram No. 5 showing the number of steps,
in value, each color undergoes inthe change from its normal
position on the scale to that of middle gray. Note diagram
No. 2 illustrating the three dimensions of color— Hue, Chroma
and Value. The pure Hues are arranged on the outside of a
circle, the value scale is perpendicular and the lines indicating
“Chroma” run from the pure Hues on the outer rim toward the
neutral scale in the center—towards absolute neutrality. In
diagram No. 3 the numbers denote the degree of neutralization
of each Hue in its transition from purity to neutrality, while
diagram No. 5 shows the steps in value of each Hue from its
normal position on the scale to “middle gray.” Yellow being
“high light” in value shows four steps to “middle gray.” Violet
being “low dark’’ in value, has the same number of steps. Red
orange and Blue-green being middle gray in value (see posi-
tion on the neutral scale) undergo no change. The other Hues
show the proper number of steps according to their position.
Diagram No. 4 further illustrates the difference between Value
and Chroma showing one Hue raised from its normal position
“Middle Grey” to “High Light’”’ and neutralized four times.
(To raise its value we simply thin or add white—to neutralize,
we add its complimentary.)

Make color rhythms showing each Hue in seven values.
Show Hues neutralized in four steps, from purity to neutrality.
Make two color schemes, demonstrating analogous and contrast-
ing harmony, showing in each a color balance, produced by the
proper proportion of each color according to its attractive force.
Indicate as per illustration the Hue, Valwe and degree of Chroma
of each color in the scheme using initial letters, to indicate
Hue; degree of Chroma indicated above and Value below the
line—(i.e.—R. O. 7).

For the practice in color work under this and subsequent
Problems, the following water colors are suggested as the
nearest approach to the Spectrum Hues. For the Yellow of
the chart, use Gamboge; for the Red, mix Carmine with Ver-
million; for the Yellow-orange, Orange and Red-orange, blend
Gamboge and Vermillion; Violet is best made with Ultramarine
Blue and Crimson Lake; Red-violet and Blue-violet, the same,
with Crimson Lake dominant in the former and Ultramarine
in the latter. Use Ultramarine for the pure Blue, but for the
Blue-green, Green and Yellow-green, Prussian-blue may be
substituted and blended with Gamboge in different proportions.
There is a set of colors known as the Ruxton colors, which are
supposed to exactly represent the Hues of the Spectrum, The
Red color is entirely satisfactory, also the Blue, but for
other Hues, the writer prefers the Windsor & Newton colors.
Wadsworth Howland has a set of eight colors which is satis-
factory, consisting of Maxina Red, Yellow, Blue, Purple
and Green with the same four hues in Middle Value and

intensity.

KERAMIC STUDIO

PROBLEM XIII PLATE XV

Diagram 3 Diagram |,
Showing slebs in neulvalizalion Diaeram Showing. norrnal position of each hue on the Value seale
Color Quali ies

Viol Mel

Gane ast due Coclrast A Tone Gann batt, Tone and flue
sila lions wh Lg

Gortrasiing Narmony,

<—— 2} ”~—

Gat

Sung aba

color

Wray 1

olor Analysis.

ONS

4 KERAMIC STUDIO

OWL TOBACCO JAR (Page 14)
Florence A. Huntington

AINT panels and design with Matt Brown, wiping out the

path, and fire. Second fire, make panels at top of jar

a deeper tone of same Brown, also the owl and leaves. Make

the branch a still deeper tone and fill path and monogram with

Roman gold. Third fire, outline design with black and go over
gold with gold luster.

CUP AND SAUCER, PLATE AND PITCHER (Page 5)
Albert W. Heckman
Re fire, tint the whole piece a light green. Second fire,
paint in all the flowers and buds with White Gold, Roman
Gold centers. All the other parts of the design are in Green

Gold. This design looks well carried out in Silver on Sedji
ware.

PLATE—M. C. McCORMICK

Cyne with Black. The dark space at edge of the
plate, the lines back of flowers, the dots nearest the cen-
ter of plate and the stamens in flowers are Roman Gold.
Second Fire—Oil the grey bands and dust with Glaze for
Green. Paint the large flowers with Rose and a little Blood
Red, leaving them almost white at the center. Paint Apple
Green and a little Yellow back of stamen. Leaves are painted

with Apple Green, a little Yellow, Brown Green and a touch
of Black and shaded with Apple Green, Shading Green, Brown
Green and Black—add 4 Relief White to the colors for the
leaves and flow the color on very thin. Small flowers are Deep
Blue Green, a little Banding Blue and a touch of Black and %
Relief White.

KERAMIC STUDIO 5

2 CUP AND SAUCER, PLATE AND PITCHER—ALBERT W. HECKMAN (Treatment page 6)

Chop Dish—Mrs. LeRoy T. Steward, Chicago.

BURLEY & TYRRELL COMPANY’S EXHIBITION

HE Annual National Exhibition of Decorated China of

Burley & Tyrell Company took place last fall. Six cash

prizes were equally divided between the two styles of decora-

tion, 7. e., Conventional and Naturalistic, and were awarded
at the opening of the Exhibition.

The first prize in the Conventional class was awarded to
Mrs. Ralph Park of Chicago, on a round Fruit Platter and set
of small plates to match it. The main ornament of the platter
consists of five geometrical divisions running to a center medal-
lion that is filled in with small blue flowers and gold leaves.
These are also used in the filling of the panelled divisions of
the plate border. The brilliant color is introduced in the geo-
metrical interlacing and consists of dark and light blue, green
and pink lavenders with a strong accent of red distributed
through it. The whole presents an original arrangement that
is very pleasing.

Mrs. J. W. Shaw, also of Chicago, takes second prize for
what she calls a mixing bowl. We are inclined to find fault
with the name. ‘Mixing’, to most of us means stirring up
things before they are cooked and this is far too beautiful a
bowl for that use and it is rather too small a bow! to mix salads
on the table, unless there was but one person present. The
decoration is in every sense a departure from the usual. It is
surrounded by ovals which meet on the outside of the bowl.
These have a black background. The flowers are in pink,
blue, lavender and yellow, with green leaves. The background
is a series of upright bands of running vines of small green gold
leaves, alternated with a tint of Satsuma color and outlined
with gold. The inside ornament is a band of tint and the same
small gold leaf band holding together half oval medallions
which have the same black background and colored flowers.

Miss Frances E. Newman of Minneapolis, Minnesota,
showed a Water Jug with panel treatment, colored in pale
green, yellow and black on a creamy gray background. The
whole design is one of merit. This beautiful pitcher took the
third prize in the Conventional class.

Miss Florence McCray of Garden City. Kansas, displayed
a Chocolate Pot, cups and saucers, with a light tan background
and etched ornament of pine cones and leaves, covered with

KERAMIC STUDIO

gold and silver. The whole is a delicate color scheme and quite
unique. It has taken first Honorable Mention in the Conven-
tional awards.

Another Honorable Mention was given to a large chop
dish, gold covered and etched in a delicate, accurate manner.
This is the work of Mr. Otto Trepte whose excellent work we
have had occasion to notice before. We venture to say he
does the best work from a technical standpoint, of any one in
Chicago.

The Ursuline Sisters of Tiffin, Ohio, show some very at-
tractive work, among which is a Boudoir Lamp. All of the
background is a lustreless black with a broad disposition of
gold. The decoration seems to be a variety of moths or butter-
flies in nature’s own colors and from which one might compose
a pretty story. This we note has taken the first prize in the
Naturalistic class. It should be seen to be thoroughly enjoyed.

A Chop Dish and one half dozen plates. Decoration being
full size roses and each one done in different colors on a different
backeround but so harmoniously disposed that they make a
matching set. .The technique and color are good. Mr. E, J.
Mulvaney is the artist and this group secured the second prize
in naturalistic work.

Miss E. Winans of Aurora, Illinois, showed several pieces,
among them a Serving Tray in naturalistic decoration with
pale blue and yellow atmospheric background in which seems
to float a disposition of roses in deep and light pmk and yellow.
This took third prize in the Naturalistic class.

First Honorable Mention in naturalistic decoration is a
Bonbon box by Mrs. L. C. Butcher who has created an orna-
ment wholly in grays. The entire effect is atmospheric in
these soft tones but one has to look twice to realize that the
theme she has carried out is roses. It seems to us that if there
had been some slight effort here and there at a little stronger
grey outline, weshould not have been so strongly impressed that
they were wandering in a mist, although it is a delightful study.

The same artist has much the same effect on a plate done
in white currants, and a small Egyptian lamp colored entirely
with black, with deep pink floral decoration arcund the cover.
Rather a strong use of color and gold, but shows that black can
be so evenly laid.

Mr. W. R. Scholtz of Chicago, takes second Honorable
Mention with a Colonial Tea Set. The panels are framed
with gold bands and paste dots. The decoration is small roses
which wander indiscriminately over the articles but with con-
siderable balance. It is a good disposition of dainty coloring.

{st Prize—No. 700, Boudoir Lamp, Ursuline Sisters, Tiffin, O.

2nd Prize—No. 611, Plaque, Mr. E. J. Mulvaney, Chicago

3rd Prize—No. 582, Serving Tray, Miss W. Einans, Aurora, Itl.

Honorable Mention—No. 545, Bon Bon Dish, Mrs. L. C. Butcher,
Chicago; No. 748, Tea Set, Mr. W. R. Scholz, Chicago

KERAMIC STUDIO

The Jury awarded distinctions on Conventional Decorations as follows:
Ist Prize—No, 607, Chop Dish, Mrs. R. Parks, Chicago 2nd Prize—No. 511, Bowl, Mrs. Jessie W. Shaw, Chicago
3rd Prize—-No. 748, Pitcher, Miss Frances E, Newman, Minneapolis
Honorable Mention—No. 603, Chop Dish, Mr. Otto Trepte, Chicago No. 723, Chocolate Pot, Miss Florence McCray, Garden City, Kansas

No. 597 Serving Tray, Mrs. E. Lovgren, Chicago No. 720 Serving Tray, Miss M. C. McCormick, Springfield, Mo.
No. 585 Sweet Pea Vase, Mrs. Sarah C. Hewen, Chicago No. 508 Tea Caddy, Mrs. D. H. Howard, Chicago i

No. 599 Chocolate Pot, Miss Marion E. Chumbly, Quincy, Ill. No. 600 Chop Dish, Miss A. M. Liebolt, Chicago

No. 562 Celery Tray, Mrs. E. S. Harner, Chicago No. 742 Bowl, Miss B. M. Stoddard, Indianapolis

No, 576 Bowl, Mrs. F, A. Barothy, Chicago No, 641 Claret Pitcher, Miss M. E. Iglehart, Chicago

No. 521 Cake Plate, Miss B. S. Brower, Chicago

BURLEY & TYRRELL COMPANY’S EXHIBITION, CHICAGO

KERAMIC STUDIO

Entire exhibit of Mrs. Walter Dixon, Kokomo, Ind.

Mrs. LeRoy T. Steward had undoubtedly the richest and
most ambitious piece of work in the Exhibition. If she had
not marked it as “Not in Competition” it certainly would have
been a first prize winner. A large Chop Plate and Luncheon
dishes to match were in deep blue and gold accented with many
colors. The pattern was geometric forms in three large divis-
ions, enclosing a rich collection of flower forms. These medal-
lions of flowers were colored strongly enough so at a distance
they held their relative positions most perfectly and the whole
result was very fine.

Miss Margaret Warnament of Tiffin, Ohio, displayed a
Sugar and Creamer with a sturdy conventional design done

entirely in blues. We have not seen much of the blue and
white handling lately, although it is always pleasing.

Miss Josephine Bell, also of Tiffin, sent a square comport
decorated with a narrow design broken at the corners and in
the middle by a conventional blue and gold ornament, the
band being composed of elcsely arranged green leaves and red-
dish purple grapes. It forms rather a striking color scheme
against the white background and is altogether agreeable.

Mrs. Abbie P. Walker’s three pieces were in her usual style.

We noticed a Toilet Set in gold paste and small pink roses.
A very delicate and dainty color scheme, held together by bands
of gold. This came from Mrs. A. M. Weschler of Erie Pa.

By students of The Art Institute, Chicago, under direction of Mrs. A. P. Walker, Instructor.
BURLEY & TYRRELL COMPANY’S EXHIBITION, CHICAGO

No. 570
No. 750
No. 685
No. 716

KERAMIC STUDIO

Pitcher, Mrs. A. Burglund, Chicago No. 517
Flower Center, Miss Estelle Northrcp, Lawrence, Kan. No, 559
Sugar and Creamer, Mrs. A. F. Emminger, Columbus, O. No. 512
Chocolate Pot, Miss Vivian Oldshue, Waveland, Ind. No. 572

Bowl, Mrs. I. C, Kissinger, Riverside, Ill.

Plate and B. and C. Tray, Mrs. C. A. Gale, Evanston, If.
Bon Bon, Mrs. Jessie W. Shaw, Chicago

Plate, Mrs. I. B. Howser, Chicago.

Entire exhibit of Mrs. A. A. Frazee, Chicago.

BURLEY & TYRRELL COMPANY’S EXHIBITION, CHICAGO

10 KERAMIC STUDIO

By pupils and teachers of Ursuline Sisters, Tiffin, Ohio.

From Miss A. M. Lieboldt came a chop dish with a splen-
did arrangement of the geometrical and floral, the predominant
color being green. The center of the plate is ornamented with
a medallion of three divisions which corresponds with the six
divisions of the border, showing careful, thought in design and
execution.

Entire exhibit of Mr. E. Challinor, Chicago.

CREAMER AND SUGAR, (Page'J1)
Edith Alma Ross

AINT the daisies with English Pink, shading daintily with
Apple Green, centers with Albert Yellow and Yellow
Brown—touch in softly behind the flowers with Grass Green,
Dark Green nearest the flowers and Violet of Gold mixed with
Grass Green to make a soft violet shadow. Run a band of
English Pink at top of dishes and put in the ornament over
this with Gold or Silver. The lines bordering the panels of
daisies are also put in with Gold or Silver.

Another treatment is to make the daisies in solid Gold and
line and shade them in thesecond fire with fine lines of Bruns-
wick Black. In this case, the background behind the daisies
should be made a strong rich red (Capucine Red mixed with
a little Brunswick Black.) Then the bordering lines should
be Gold with a fine black outline; the handle and bands at top
should be Gold with the tiny ornaments in alternate Black and
Red. Any other color can be used instead of the Red. A
good strong green made of Grass Green with a little Albert
Yellow is also a good background for daisies.

By using a line of roses in Yellow, Pink or Red, a pretty
design can be worked from this same idea. Make the roses
largest at the bottom and diminish at the top. A cup and
saucer has the saucer divided into 5 parts and the points run-
ning into the center. The same arangement can be adapted
to a bon-bon top.

BOWL, POND LILY (Page 11)

Stewart F. Mayer

UTLINE with Dark Grey and a little Black. Second

Fire—Oil lilies and dust with 1 part Yellow for Dusting

and 2 parts Ivory Glaze. Oil centers and dust with 1 part

Yellow Brown and 1 part Ivory Glaze. Leaves are oiled with

1 part Florehtine Green and 1 part Ivory Glaze. Dark back-

ground is 2 parts Florentine Green, 1 part Pearl Grey and 4

part Dark Grey. Stems and bands at top are 8 parts Deep

Ivory, 1 part Warm Grey, 1 part Ivory Glaze. Background

back of flowers and between stems is 1 part Glaze for Green
and 1 part Pearl Grey.

Sis

PLATE BORDERS—GERTRUDE L. DURAND

To be executed in Gold with touch of bright color.

KERAMIC STUDIO

(Treatment page 10)

—EDITH ALMA ROSS

DAISIES

CREAMER AND SUGAR

(Treatment page {0)

BOWL, POND LILY—STEWART E. MAYER

{2 KERAMIC STUDIO

CONVENTIONALIZATIONS OF BLACK-EYED SUSAN—M. A. YEICH

BORDERS

UTLINE the designs with Black or Shading Brown. Tint
the background with Pearl Grey or Ivory. Paint the
centers of the flowers Hair Brown. For the petals use Albert
Yellow, Yellow Brown, or Gold. Use Grey Green for
the leaf forms and a darker tone of the same for the stems

and bands.

MEDALLIONS

For the two larger units tint the background with Ivory
and line the design with Dark Brown. Use Dark Brown for the
flower centers and Albert Yellow and Yellow Brown with a

touch of, Carnation for the petals. For the leaves, veins, stems
and sepals use three tones of Grey Green.

Round, medallion, outline with Black. Tint the whole de-
sign with Grey Green, cleaning out the flower. Paint the leaf
forms a darker tone of Grey Green and the flowers the same

as in the other units.
SMALL UNITS

Paint the centers Brown and the sepals and stems Grey
Green on an Ivory or Pearl Grey ground, or develop the whole
design in Gold with Dark Brown outlines on an Ivory
ground,

KERAMIC STUDIO 13

CHOCOLATE POT—GERTRUDE L. DURAND

ANDLE of lid, back of handle of pitcher, band, and all
black in design in Gold. Oil and dust all grey in
design with one part Shading Green, one part Ivory Glaze
and two parts Pearl Grey except the long slender oval figure

in center of each panel which is dusted with one part Copen-
hagen Blue, one part Deep Blue Green, one part Pearl Grey
and one part Ivory Glaze. Entire pitcher tinted with Royal
Grey and a little Deep Blue Green.

KERAMIC STUDIO

KERAMIC STUDIO 15.

ANSWERS TO CORRESPONDENTS

J. L. B.—Does it do black outlining any harm to stand a great length of time
before firing?

No.

EH. L. Y —In painting a dresser set I put the background on different pieces
al different times and did not gel them the same color, My comb and brush tray
is loo deep. I used Imperial Ivory and this tray is a sickening yellow. Is
there anything that can be done for it to make it lighter?

Try oiling and dusting with Ivory Glaze and give it a hot fire, this may
and may not help it, as it is not always successful. The background could
be taken off with a china eraser but it will take some of the glaze with it.

M. B. B—1 Is it true that the Belleek ware does not fire well, that it is
liable to break?

2. Is enamel ever used in making a monogram when a color is desired in-
stead of the gold?

8. Can you tell me where I can obtain pieces of crockery such as are being
decorated recently?

1. The Belleck ware is a little more liable to crack than the French
china but it fires very successfully as a rule. The large heavy pieces should
be set on a stilt to allow the heat to circulate around them, there should be no
trouble with the smaller pieces.

2. Enamel may be used or you may dust the colors on or paint them.

3. We do not know to what ware you refer and so are not able to give
the desired address.

EL. D. M.—What would a dinner set containing the following pieces
be worth, decorated with heavy design, solid gold, layed on twice.
2, Would third application of gold increase the durability of the gold decor-
ation?
3. What is the difference between Oil of Copaiba and Balsam of Copaiba
I have a bottle of oil of copaiba which seems very thin. How can I use il?

1. Thebestway to determine this is to figure the piece of china, firing
and materials used to find the actual cost, then figure as nearly as possible
the number of hours or days that it will take to do the work and value your
\ ork at whatever price you think it is worth by the day or hour. This will
have to be determined by the grade of work.

2. Yes it will increase the durability of the gold.

3. The balsam is heavier than the oil. You might be able to use the oil
if you used a larger proportion than is called for.

R.S. B.—1 In regard to conventional design for stein by Sara W. Safford
on grey page in your frual book page 24, is one apyvication of carnation and black
enough and one application of liquid and two of burnish silver?

Wouldn't tt rub off by cleaning?

Why is one silver used once and the other twice?

2. Can one brush be used for both silvers and are they cleaned with turpen-
line or alcohol or do both have to be new brushes?

3. Is special tinting oil the same as grounding oil, is it used the same way?

4, Is the grounding oil spoken of for the stein put on and padded before
the black paint is put on and ts the black paint put on with a wad of colton?

5, In the class I attended we called it powdering the background, does
dusting the background mean the same thing?

What does dry dust mean?

1. One application of the color is enough unless something happens
such as over firing or if the color is not applied heavy enough in the first place.

The silver would not rub off.

Two applications of burnish silver are required to cover over the liquid.
The liquid may be dispensed with if desired, some people use only the two
applications of burnish silver.

2. It is best to use separate brushes, they are cleaned with alcohol, they
should be new brushes kept just for this purpose.

3, Special tinting oil and grounding oil are used for the same purpose
but are not quite the same.

The grounding oil is heavier and should be padded, while the special
oil can be painted on thin enough in small places so it does not have to be padded,
in a design when several colors are dusted on in one fire it would be impossible
to pad without disturbing the other colors.

4. Yes.

5. Yes, they are the same thing and dry dusting is also the same.

F. N. S.—Would like to ask what success painters have with the black oul-
lining mixed with sugar and water? My lines seem to look so heavy made of this
and fire uneven.

2. Would like also to ask if you have a colored study of for-get-me-nots
in any of your back numbers and also if you have any of wild roses? I mean
naturalistic.

1. Some people seem to have success with it and others have trouble
You probably do not use it thin enough which causes it to go on heavy and you
will then find it easier to apply evenly.

3. We have not had any studies of the flowers mentioned recently ex-
cept a small one of wild roses in the March No. 1915, Consult illustrated
eatalogue pages 11, 12 and 34.

J. B. B—May I ask for Fry's address in New York?

35-387 West 31st &t. You will always find his name among our adver-
tisers in the front olf the magazine.

1.—I see that in your instructions for use of enamels you add lavender to
the medium. Ts it better than turpentine?

Yes, it does not evaporate as quickly.

D. T.—\. What are the designs like I see spoken of to be outlined in Black
and done in silver, a plan to sell transfer outlines?

2. Read an article the other day saying only two letter monograms are used
now even by married women, ts this true?

3. Are the & letter gald monograms used on dinner sets as much as formerly?

One of my pupils planned to do a breakfast set with Blue monogram and
bands. What blue or blues would you use?

4. Are craft monograms preyerable to script?

1. What article do you refer to? There are a number of different
ways of carrying out a design in silver and outline.

2. Yes the two letters are used now.

3. The monograms are not used as much now as they were a short time
ago though some are still using them, either one, two or three letters.

If two shades of blue are used, Water Blue and Grey Blue would be good
color or Water Blue if only one is used.

4. The craft monogram is the better.

A Reader—I have pieces of china with color and gold on them that were
fired once, the color sand papers off and the gold all .polishes off. Are they not
under fired? Can I remedy them by firing again?

Is it best to fire them as they are or repeat the color and gold as for reqular
second firing?

Yes, they are underfired. Fire them again just as they are, they will
require a little hotter fire than ordinarily.

A. G.—What is your opinion of china dinner sets decorated with a wide
stippled border of gold and a script monogram almost covering the center of the
plate?

2. Is it possible to put a good coat of gold on with only one firing?

3. Lf put on twice will gold look and wear as well if the first coat is mixed
with liquid bright gold?

4. Is it better to use a banding wheel for putling on bands of gold?

1. The decoration you mention is not used now, the later way is to
put the monogram near the edge of the plates and use bands of gold; a wide
band with a narrow one close to it is very good.

2. Yes, it is possible, but two coats wear better and look heavier.

3. No, the color is better if the liquid is not used.

4. A great deal of time is saved by the use of the banding wheel and the
bands are more even,

STUDENT.—Why do you not publish water color treatments with your
studies?

2—Why not publish a smaller magazine for the student about the size of
Keramic Studio, but containing fewer pages, devoted to instructions in water colors
and is it possible to publish an adequate magazine for $1.50?

1.—We think it a good suggestion. It has been done in many instances,
but of late years has been neglected.

2.—Answering the second question, in the first place would say that it is
impossible to publish a magazine for $1.50 per year that is adequate. It would
have to be printed on the cheapest material, the reproductions would have to
be done at the very lowest cost, which would not be interesting to the teacher
or student, and the publishing house would go out of business inside of three

months or less.

We suggest to Student X. X. that she purchase the set of sixteen numbers
of Palette and Bench, formerly published by us, a few of which we have on hand,
worth $3.50 postpaid. These numbers contain much material by artists who
are seldom seen in print. They are beautifully illustrated and have a color
study in each number. The sixteen color studies alone are worth $4.00 at
their retail price of 25c each.

Lastly, we suggest that Student X. X. will not endeavor to get a cheap
publication nor cheap instruction from a cheap teacher. The product of this
combination is usually the cheap artist. If she will give us her full address,
we will send her a sample copy of Paletle and Bench and give her an index of
the sixteen numbers.

A BARGAIN

in China, Satsuma and Sedji Wares |

As we will not have any Summer Schoo! this year, we will not keep any of
the little stock of china on hand. We want to dispose of it promptly and are |
offering it at rock bottom prices.

Send your order EARLY, as at these
prices the lot will be sold in no time

CHINA
EACH
1 (ConperPlates GF incharlisnn, bP renchyye wiry crssnee te teutereeesiatieeriete rs coacureyeytorere sess $ .35
1 Coupe Plate, 94 inch diam., glazed open work border, French.. ce fale)
1 Oval Tile, 134 by 10 inches, French 85
1 Ova! Tile, 12 by 84 inches, French.... .70
1 Oval Tile, 94 by 73 inches, French.... 45
1 Oval Tile, 6 by 41 inches, French.................. 8
1 Plate, 83 inch rim with open work pattern, German... 125
1 Chop Plate, 112 inches, Favorite...................0.. 80
24 Coupe Plates, 8 inches, Favorite. 18
12 Coupe Plates, 7% inches, Favorite. 14
12 Coupe Plates, 6 inches, Favorite... 10
3 Rectangular Trays, 124 by 9} inches, ‘Favorite. 75
3 Rectangular Trays, 10 by 6 inches, Favorite. 45
2 Rectangular Trays, 53 by 32 inches, Favorite................ pli)
2 Chocolate Pots, triangular handle, 8 inches high, Favorite. 1.00
38 Creamers, triangular handle, 3+ inch high, Favorite.. All)
3 Sugars, triangular handle, 23 inch high, Favorite... S45)
2 Rose Bowls, 4 inch high by 4%. Favorite......... oe -50
1 Salad or Fruit Bowl, 9 by 44 inches, Favorit 1.00
2 Conical Bowls, 53 inch high by 8, ‘Favorite S32 -70
2 Conical Bowls, 4 inch high by oa Favorit 3h)
1 Round Bowl, 2} inches high by 51, Favorit B30
2 Candlesticks, 8 inches high, Favorite.. 45
2 Water Pitchers, 9 inches high, Favorite ...cccccccccssss cscs ever 75
‘ SEDJI
NO. EACH
lofty PASE ong tani viars IFoo, WS) rie KeT AREAL Cob UE W olny. 9944p star cebmsnccnernccn yee ress if savin recs $1.00
64. 13 Oval Trays, 10 by 8 inches............... pe 70
65. 14 Covered Bowls, 4 inches diam.............. .30
67. 34 doz. Cups and Saucers, $3.25 a dozen.... .B0
68. 38 Covered Vases or Tea Caddies, same as No. 4 50
SATSUMA
NO.
1. 3 Tea Caddies, 3 inches high
2. 1 Bowl, 7% by 3 inches.....
3. 3 Coupe Plates, 84 inches..
4, 14 Vases, 5 inches high
5. 5 Bowls, indented edge, 4} inches diam.
G9: Square Boxes, 3 inches diam.............
7. 2 Cylinder Vases, 34 inches high...
8. 8 Vases, 74 inches high..........0..........00.0...---
9. 43 doz. Cups and Saucers, $5.00 a dozen
11. 2 Creamers, with CoVED......0....ccc0ccceeeeseee
12. 3 Sugars (or covered bowls), no handles.
15. 4 Boxes with Feet, 4 inches diam..........
16. 5 Cups and Saucers, round handle............
17. 3 Round Boxes, with Feet, 23 inches diam
18. 2 Coupe Plates, 6 inches diam.................
20. 1 Cylinder Vase, 5 inches high

21. Vases, 5 inches high................

22. Pentagonal Boxes, 34 inches diz

23. Bowls, 41 inches diam............

26. Coupe Plates, 7 inches diam.

ale Coffee Pots, 6 inches high.

28, 10 Tea Pots, 4 inches high v
29. Tea Caddy or Covered V ase, 3 inches high. :
Billy, Vases, 7 inches 1 RAW ore ee tr aligt M Goke g
32. 12 Low Bowls, with Feet, 6 inches diam...

BOE Sugars, with handles

TERE ATO LS tee cee Orta es

388. 11 Oval Trays, 10 by 82 inches...............
39. Low Bowls, with feet, 9 inches diam.........2
42. Small Pentagonal Bowls, 2 2f inches diameter
43. 14 Covered Vases or Tea Caddies, 7 inches high.
44, Tea Pots, 5 inches high tees
45, Coffee Pots 64 inches ‘high
46. 11 Covered Vases or Tea Caddies, 33 i
47. BOGS eve 33 inches diam
54
55
ine same as 53, but 5 inches diam.
56 Teapot, 5 inches high I A
57 Boxes, 4 inches diam

oo
ive}

Creamers...

5 iohaee Jars, 5 inches high......
1 Round Box, 32 inches diam., 13 inches high.
1 Bowl, 4a uighes diam. 2 inches high

For shapes of Sedji and Satsuma see our illustration with numbers in pre-
ceding issues of Keramic Studio.

The Robineau Pottery

Syracuse, N. Y.

KERAMIC STUDIO

COLOR SUPPLEMENTS
OF KERAMIC STUDIO

FOR JUNE, 1915

THE CONVENTIONAL COLOR SUPPLEMENT
by Albert W. Heckman

A beautiful design, Persian motif, in shades of Green

THE SEMI-NATURALISTIC COLOR SUPPLEMENT
by W. K. Titze

Most interesting combinations in color and design

In addition to the Color Supplements there will be :
A Page of “Little Things” by Dorris Dawn Mills
Luncheon Set in Enamels by Dorothea Warren O’ Hara
Two Pages of Plate Designs by Lillie M. T. Bennett
Rose Plate by Dora V. McCrea

Designs by Edith Alma Ross, Lillian L. Priebe and
Henrietta B. Paist, with many contributors of note, in-
cluding L. Vance Phillips and her class at Chatauqua.

The program is not quite completed at this date, but the theme
of nearly all contributions will be “The Rose” used in decoration.

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Dark Yellow

Neutral Grey Yellow

Yale Blue are 18c.

K. E. CHERRY
CHINA COLORS

Some of the new Cherry Enamels, all soft, artistic colors

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Antique Red
Pompeian Red

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Grass Green
Celtic Green

Jonquil Yeliow Scarlet No. 3 Leaf Green No.2
Lotus Yellow Golden Red Florentine No. 1
Canary Yellow Dark Red Florentine No.12
Mars Yellow Orange Red Turquoise
Satsuma Warmest Pink Deep Turquoise
Goldenrod Italian Pink Yale Blue
Orange No. 3 Rose Carmine Antwerp Blue
Jersey Cream Peach Pink Azure Blue

Old Ivory Maiden Blush Egyptian Blue
Cafe au Lait Brown Grey Night Blue

Buff Brown Marion Grey Amethyst
Venetian Red Brown Pale Blue Green Wistaria

Enamel Medium 16 cents per ounce.

On account of the demand for small quantities of enamels at a time
by most decorators, these enamels are put up in small vials containing
fully half the quantity of a standard color vial.
most celors cost 15 cents. Orange, Orange Red, Golden Red, Scarlet,
Night Blue and Wistaria 20c.

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including enamels and revised list of standard and dusting colors

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No. 1 The Art of Teaching China Decoration......$3.00 postpaid
No. 2 Flower Painting on Porcelain........................ 3.00“
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“BOGK OF CUPS AND SAUCERS”

Published in one yolume of 26 pages, it contains the choicest designs published in back numbers of
KERAMIC STUDIO—many of which are now entirely out of print; and are excellent examples of
America’s most famous decorators of china.- The group of six designs for Cups and Saucers in Color
by Kathryn E. Cherry, which forms the frontispiece, is a valuable feature as each design may be
adapted to an entire set of china. =

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“HTLE THINGS TO MAKE”

Five color inserts filled with designs and studies to be used on small pieces of china—besides forty
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Bar Pins, Hat Pins, Tea Caddies, Small Pitchers, Ferneries, Pin Trays Jewel Boxes, Mugs, Mustard
Pots, Small Bowls, Sugar Shakers, Ointment Boxes, Syrup Jugs, Pins, Buttons, Medallions, Buckles,
Almond. Dishes, Biscuit Jars, Ramiguin, Taleum Shakers, Cold Cream Boxes, Belt and Lace Pins,
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CONTRIBUTORS

JESSIE -M. BARD

LILLIE W. I. BENNETT

MARY LC. “BERRY

CHAUTAUQUA CLASS

IDA N.- COCHRAN
DORA-Vi McCREA eo

DORIS DAWN. MILLS
MRS: RAY E.. MOTZ

ADELINE MORE Koy,
DOROTHEA WARREN O'HARA
LILLIAN E, PRIEBE

L, YANCE PHILLIPS

EDITH ALMA ROSS

ELEANOR STEWART

WALTER S. STILLMAN

W. K, TITZE

JUNE MCMXY Price 40. Yearly Subscription $4.00

A MONTHLY MAGAZINE FOR THE POTTER ANB DECORATOR: |

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF JUNE, 1915

Page
Editorial sean V/
Teaching Design in Class ~ Lillie W. T. Bennett 18
Rose Designs for the Country Home (Color Supplement) W. K. Titze 18
Luncheon Set in Enamels F Dorothea Warren O’Hara eS
Plate Designs Lillie W. T. Bennett 25-22

Chautauqua Class

Mrs. L. Vance Phillips, Mrs. Ray E. Motz and Students 22-28

Bowl, Rose Motif Eleanor Stewart 28
Bon Bon, Pink Roses Edith Alma Ross 29
Rose Plate (Color Supplement) Adeline More 30°
Answers to Correspondents 30
NATURALISTIC SUPPLEMENT
Rose Plate Dora V. McCrea J
Rose Panel Lillie W. T. Bennett 2
Semi-Conventional Yellow Rose Plates Lillian E. Priebe 2
Rose Tray Edith Alma Ross 5:
Rose Tray Border Liffian E. Prilbe 4
Sugar Bowl and Creamer I, N. Cochran 4
Plate I. N. Coch#an 5
Rose Bowl Adeline More §
Jack-in-the-Pulpit Mary L. Berry 6
Cup and Saucer Dora V. McCrea 6
Little Things to Make Doris Dawn Mifls 7
Jack-in-the-Pulpit D Photo by Walter S. Stillman 8
. @

THE OLD RELIABLE '872-'9'5 FITCH KILNS

The thousands of these Kilns in use testify to—
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

The only fuels which give perfect results in
Glaze and Color Tone

No. 2 Size 14x §2 in........$30.00

c ei ore No.f Size 10 x 12 im............. $15.00
No, 3 Size 16x 19 in......... 40.00 { 77" . Ct ines )NO-2 Size 6x {2 tn............ 20.00

Sop aint ite 3 Size t6x 16 inst a8
WRITE FOR DISCOUNTS. No.4 Size $8 x 26 ines... 50.00

STEARNS, FITCH & CO., : SPRINGFIELD, OHIO

SYRACUSE, NEW YORK

June 1915

T is quite a problem for us to find
room in the Magazine for all the ma-
terial we have on hand. We think
that we have now in our stock some-
thing like 300 unused designs. We
are constantly offered more, and
many good ones, which we must re-
fuse. Wealso receive regularly illus
trated articles of exhibitions, class
work, etc., and we have so little
room for them'that, however interesting they may be, we have
to postpone their publication from month to month until they
finally appear five or six months behind time.

There would be a very simple remedy to this congestion,
an enlargement of the Magazine. We have always had in mind
the enlarging and improving of Keramic Studio, and, as a first
important step in this direction, we began last fall to give in

every issue, besides a naturalistic supplement, an extra color °

study, If some subscribers say that there are enough designs
in each issue of the Magazine as it is, all will agree that the more
color work it contains, the more useful it will be to them. But,
as you all know, color engraving and printing is extremely ex-
pensive.

Now what was the result of our change last fall , of that
extra color study we have been giving ever since.? We have
been flooded with letters of congratulation and appreciation.
This is very gratifying, but, when we turn to the subscription
list, we find that, if the change in the Magazine has brought an
increase of subscriptions over last year, this increase does not
cover half the expense of the extra color study.

And why is it that with so many letters of praise the in-
crease in subscriptions is so small? There are many reasons.
One is that business in a general way has been poor all over the
country. We do not remember a single year when we have had
so many letters from old subscribers saying that they like the
Magazine, that they want it, but cannot afford to subscribe at
present. We realize very well that times have been hard and we
sincerely hope that the predictions made everywhere of better
times coming after the war will be realized. At the same time
it seems to us that a china decorator who must anyway buy the
materials she needs in her work, should manage in some way to
scrape $4.00 a year or $1.10 every three months for a subscrip-
tion to Keramic Studio, and that it will pay her to do it.

The true reason why the subscription list is not increasing
as it should, is deeper and more permanent than the temporary
set-back of hard times, and itisthis: Keramic Studio has never
been able, in good times any more than in hard times, to carry
its subscription list to average over 5,000, but it is read and
used every month by more than 20,000 decorators.

We know this absolutely, because we receive so often letters
from teachers, good friends of the Magazine, saying that they
cannot get pupils to subscribe, as pupils find it much simpler to
use the teacher’s copy in the studio. We have seen in a public
library copies of the Magazine so soiled and torn from constant
use that they were only fit for the waste basket. And that is
the whole trouble, the whole question in a nutshell. Our best,
most constant subscribers are the people in small places who can-

not find the Magazine in any other way than by subscribing
themselves. In larger cities one copy of Keramic Studio is used
by 5, 10, 15 or 20 people.

Now this is all wrong, and it shows that some china dec-
orators lack absolutely this spirit of co-operation which is
revolutionizing modern business, and which proclaims that
the old everybody for himself business system does not pay in
the end.

Just as it would be in the end suicidal for us to keep in our
pocket all the profit which would result from an increase in our
circulation, instead of giving subscribers a reward for their sup-
port in the form of enlargement and improvement of the Maga-
zine, so it is narrow, shortsighted policy for decorators to give
us only a half-hearted support, to think that a word of praise
is enough as long as they can finda copy of the Magazine some-
where, at the Library or at a friend’s or in the teacher’s studio,
without subscribing themselves.

Do you realize that this amateur china decoration, which is
a means of livelihood for so many of our women, is an uncertain
and difficult business? It can subsist only if it has a quality of
hand work which the factory product lacks, and this quality of
design china decorators will never acquire if they are left to
themselves, if there is not co-operation of some kind between
them, if there is not something to guide them, to hold them to-
gether. Club work is a great help, but club work is really suc-
cessful and helpful only in large cities. A Magazine can do
more because it reaches so easily every little place, every indi-
vidual studio.

At the time Keramic Studio was born, sixteen years ago,
everybody thought that amateur china decoration in this coun-
try was dying out, simply because the old Magazine, the China
Decorator, which had been for a while prosperous and helpful,
was going rapidly to pieces from bad management. Keramic
Studio probably did more than anything else to revive a business
which we see today flourishing in every city of our country, and
it can do still more for it. We know it, we realize very well the
weak points of our Magazine, that black and white designs with
written treatments are not by far as helpful as designs showing
the colors, that there is no limit to the number of improvements
which could be made in that line alone, in color work, but that
these improvements are impossible as long as the subscription
list remains around 5,000. We know what should be done, but
we cannot do it alone, you must help us. On your active,
whole-hearted co-operation depends the successful carrying
out of these improvements we have had in mind for a long
time. Think it over.

x OK

We have just received the following communication from
C. F. Ingerson, who has charge of the Arts and Crafts section
at the Panama Exposition: ‘‘Our good friend and patron, Mrs.
Adolph B. Spreckels, is redecorating a house of twenty-two
rooms to be used as Studio Show Rooms, where paintings and
drawings will be hung, and all kinds of objects d’art shown to
advantage. Already hundreds of rare things have been sent to
Mrs. Spreckels from Europe to be offered for sale. The artists
and merchants in San Francisco are sending contributions from

(Continued on page 29)

18 KERAMIC STUDIO

TEACHING DESIGN IN CLASS (Pages 21-22)
Lilhne W. T. Bennett

IVEN an Art School, Class or a Club, a teacher may
follow the successive steps of fundamental drawing and
design. But most teachers of china painting seem to be given
a class whose members are without art training and most
firmly and unitedly insist upon flower painting only a thing
they have seen and feel they can understand. If a private
teacher and you are to continue to hold your class, you must
sustain the interest and make the class feel that they are
getting what they wish. They feel that is for what you
were engaged. At the same time you will wish your class to
do a little work and study the principles of decoration.
How are you to go about it?
If the mountain will not come to Mahomet, Mahomet
must go to the mountain and it is also good psychology to begin
with pupils on their own plans—just as you find them. Then

begin with the naturalistic but encourage arrangement in the |

parts of the decorative.

First you will need some examples of these naturalistic
arrangements to exhibit to your pupils. Examples of these
arrangements are shown in Platelexamplesland1A. Plate 2,
1-3-7-8, ete. You can make further examples by translating
conventional (abstract) and semi conventional designs into
terms of the naturalistic. Take a piece of tracing paper and
trace lightly any semi-conventional design, then using the
flower that you have chosen draw on the tracing more firmly
and in a naturalistic manner, keeping to the same or similar
line arrangement. Example plate 1-5 could have been de-
rived from 6,1 from 3and 2. 1A Plate 1 naturalistic arrange-
ment to repeat five times about the rim of a plate, 2a
semi-conventional arrangement, 3 a more abstract and 4 more
abstract derivation, 5 and 6 are also derivations. Or divide
your plate into any number of equal parts 3, 4, 5, etc. In one
of the sections draw a naturalistic arrangement with any four
well spaced parts of a flower as 1 A or D., repeat this about the
plate. When your pupils become interested in these examples
of naturalistic arrangement fill your studio with good examples
of semi-conventional work. Have some new thing each week
on exhibition but do not force the attention upon it. If you
surround them with good things some one will admire and
mention some one of the examples some day. Then you can
argue and point out the good points of the design, its line,
its light and dark and light, the color and what is most impor-
tant the adaptility of the decoration to the form and to the
use of the object. During the discussion some one, or you,
may suggest that some one design might be more pleasing if
the units were more compact. This would suggest an exer-
cise in rearranging or rather respacing designs from the maga-
zines making some parts larger, some smaller in an effort to
better a design. Make some of these changes before the class,
on the board, or on paper with the class looking on or get them
to carry out some of the suggestions for you.

As soon as you can get the students to put pencil to paper,
they will become interested and quite fascinated in seeing the

difference a slight variation in spacing, etc., will make. Your
battle will then be more than half won.
Have all the arrangements pinned up on the wall. Try

and find some good point in each design. If you have time
help each pupil carry out your suggestions, your criticism.
But make no change without telling why you made it. That
is do not say, simply, that the unit or a part of it would be
better if larger. Tell them of the process by which you ar-
rived at your decision; if the part of the unit is so small that
it attracts attention unduly, the eye sees it alone,thus destroy-

ing the unity, the holding together of the design. Learning
to analyse is one-half of the study of design understanding.
To the beginner the first principles of design are always very
confusing, it is a new field, he is very much at sea to where it
all leads, easily discouraged. More personal help and encour-
agement will be needed during the early stages of the study
than at any other period. Try and find all the good points
possible at this time and emphasize only one or two very ob-
vious points in each talk.

In Egyptian, Assyrian and Greek borders you will find
much material for exercises in variation. Another valuable
exercise 1s to have each pupil bring in an example, object,
drawing of what he considers good in design. By encouraging
an expression of the reasons why the design is liked you will
not only develop the analytical powers but get an idea of
the taste (the degree of art culture) of the person. Perhaps
in working out these problems the students will be very much
hampered by a limited knowledge of drawing. Show them
that the principles of design are the same when applied to
straight lines as to curved and flower and figure composition.
Suggest the use of the straight line in the exercises and suggest
the absolute need of drawing lessons. Now the battle may
be won. You can now begin with the design problems, your
system of composition supplemented with drawing. Draw
flowers, fruit, from life for you do not wish your pupils to be
limited to strict arrangements. If each design problem
is applicable to china decoration, and occasionally developed
upon the ware, a sense of doing actual, practical work will be
developed.

ROSE DESIGNS FOR THE COUNTRY HOME (Supplement)
W. K. Tiize
BOWL BORDER

1—Green bands, equal parts Yellow Green and Copen-
hagen Blue. Grey bands, Copenhagen Blue (light) Roman
Gold for lines and basket motif, Roses, Yellow shaded with
Yellow Brown and a little Brown Green. Hearts of roses
Yellow Brown and Yellow Red.

TEA PLATE DESIGN

11—Circular motif to be placed in center of plate. Roses
First fire use Grey for white roses, Albert Yellow for the cen-
ters shaded with Yellow Brown and in deepest parts a touch
of Yellow Red. Leaves, Yellow Green shaded with Grass
Green, Brown Green, Russian Green. Make the leaves of
many colors, Violet used lightly is a good color for shadow
leaves. Retouch motif with same colors as in first fire.
Band on outer edge is of Black with an inner line of gold.
Circular motif to be outlined in Black.

111—Narrow green band, one part Yellow Green, one
part Brown Green. Large green band, Grey Green. Yel-
low bands, Albert Yellow, use it medium strong. Work roses
with Yellow shaded with Yellow Brown and Brown Green,
centers of Yellow Brown and Yellow Red. All lines and space
in back of rose tree is Black. Use a little gold in the upper
portion of tree design and along the stems of tree.

TV—Use Dark Blue for Dusting in bands. ‘Trace design
in carefully, Outline with water black, or India ink, apply
special dusting medium (thin), allow to stand about 10 min-
utes then dust on color. Allow this to stand a while then cut,
with an orange wood stick, your design. Stems to be left white.
Roses, any standard Rose color can be used. Leaves of Yellow
Green. Lines of gold.

A FLOWER VASE
V—Upper portion is worked as tea plate design No. IV.

ROSE DESIGNS FOR THE COUNTRY HOME-—w. k. TITZE

SUPPLEMENT TO KERAMIC STUDIO PUB. co.
KERAMIC STUDIO SYRACUSE, N. Y.

*
RoE ea
ee! bh

KERAMIC STUDIO 19

Lower portion, trace in the roses, outline with india Ink.
Dust with Copenhagen Grey. Wipe out roses and paint with
any standard pink. Leaves of Yellow Green, accented with
Dark Blue. Gold scrolls can be made with a pen or if larger
scrolls are desired with a liner. Do not keep the design for
the lower portion too perfect.

TEA OR LUNCHEON SET
VI—Grey bands, 2 parts Waterloo Glaze and 1 part Grey
Green. Use either Roman or Green Gold. Conventional rose
motive is Cameo. Outline panels in Grey Green. Roses,
use Blood Red very lightly for first fire. Second fire, use rose
and shade with a little Violet. Keep leaves in warm tones
of Green and Violet.

LUNCHEON SET IN ENAMELS—DOROTHEA WARREN O’HARA

AVILAND china luncheon set. Plate design. The gold
and outlining of flower should be done the first fire.

Second Fire—Float on enamels. Use extra hard enamels

floated in thinly. Rose Pink enamel, Red enamel, Baby Blue

enamel, Light Violet enamel, Moss Green enamel, Ming Blue
enamel. Gather enamel together with Warren’s enamel
medium. Thin with pure fresh turpentine and grind until
very smooth.

KERAMIC STUDIO

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KERAMIC STUDIO

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KERAMIC STUDIO

MRS. RAY E. MOTZ

MRS. A. G. RICHWIFE MRS. ONA C, JEFFREYS

MRS. RAY E. MOTZ

CHAUTAUQUA CLASS, MRS. L. VANCE PHILLIPS

KERAMIC STUDIO

MRS. J. A. DEETER

MRS. ONA C. JEFFREYS

MRS. CHAS. WARNER

MRS. LESLIE PATTERSON GERTRUDE E. ROBERTSON

CHAUTAUQUA CLASS, MRS. L. VANCE PHILLIPS

24 KERAMIC STUDIO

PLATE BORDER—MRS. RAY E. MOTZ

WOULD suggest three treatments for this very simple Phillips’ Chinese Blue with 1-6 Azure Glaze, thinned with
plate design: First—Lay in design with Albert Yellow, turpentine. Outside and inside bands Olive Green.
toned with Yellow Red until a deep orange. The inside and Third—Dust Vance Phillips’ Hair Brown on design. Paint
outside bands Black. bands on with same. If a little too strong in color tone for
Second—Float enamel then fire. Use as body Vance second fire with a little Pearl Grey.

TRAY—MRS. RAY E. MOTZ
Paint with two shades of blue, leaving white outline and flower white. Dark blue outlines.
CHAUTAUQUA CLASS, MRS. L. VANCE PHILLIPS

KERAMIC STUDIO

BON BON BOX—MRS. RAY E. MOTZ

PPLE blossoms delicate pink and cream. Use Vance
Phillips white enamel for foundation for all colors, mix
until the consistency of putty with fresh fat oil of turpentine
and thin with fresh turpentine and grind until it pulls. Mix
colors as follows: Vance Phillips’ colors named. Other colors
that correspond to these can be used as well, provided they
fire at a low temperature. Creme—Albert Yellow toned with
Ruby, until a dark grey yellow. Add a little white enamel.
You can make two or three shades with same mixture.

Pink—Rose, toned with hair Brown.

Pink Violet—for some of tips of buds a little special Violet
added to enamel Green, Apple Green, toned with Deep Pur-
ple Black. Add to desired shades. To enamel light green,
Apple Green toned with Light Yellow. Outline whole design
with Black, fill in centers with a little pure Yellow added to
enamel. The very center with Coral enamel. Bands with
gold. Also between the open work.

CHAUTAUQUA CLASS, MRS. L. VANCE PHILLIPS

26 KERAMIC STUDIO

GERTRUDE E. ROBERTSON

CERAMICS AT CHAUTAUQUA
Mrs. L. Vance Phillips

HE Ceramic department of Arts and Crafts school at Chau-
tauqua Institution is here represented by the work of a
few of its students and of the instructors.

The art department for some years has been under the
direction of Henry Turner Bailey, editor of School Art Maga-
zine. Mr. Bailey’s exceptional training in the fine arts has
given a high view point and a keen edge to his outlook. He has
directed the decorative and practical arts with skill and with
enthusiasm of a most infectious character. Mr. Bailey gives
each morning to all the art teachers and students a talk on some

MRS. CHARLES WARNER

L. VANCE PHILLIPS

phase of art. He sets forth some definite principle, and with
lantern slides gives the world’s richest and most complete ex-
amples. He proves the same truth to hold in literature, and
ends with its application to life, and all done in so bright and
attractive a vein that both teachers and students hasten to
their various classes with fresh inspiration and a new zeal.

Ceramics have received generous encouragement and these
studios have always been among the most important in the art
colony.

Mrs. Vance Phillips for many years has been in charge of
the ceramic department, herself a teacher, and bringing from
New York new ideas, has continually increased the variety in
style and design by inviting teachers of note or of special skill
to join her.

Mrs. Ray E. Motz of Pittsburg has for three years been a
most satisfactory instructor. Her skill and originality in de-
sign, combined with her rapid and almost perfect execution, has

EDNA EVANS

KERAMIC STUDIO

made the more formal decorations a pleasure and of easy
accomplishment. Her method of eliminating the drudgery
of tracing and of India ink and of putting the design free
hand and at once into ceramic color is eagerly welcomed.
Mrs. Vance Phillips has shown exceptional interest in
the theory and application of color harmonies. By charts
this fascinating subject becomes an open book, and the
student is enabled to express original color thoughts based on
principles that all may learn. This season’s special feature
will be the study of color harmonies suitable to porcelain.

°°

These borders are the detail drawing for saucer and
lid of the marmelaide jar below. Treatment same as jar.
For plate borders, treatment as follows: Outline design with
black, using pen for fine even line. Float in background
with blue enamel, using Banding Blue for foundation,
toning with a little Ruby and Black and adding 1-6 Tur-
quoise Glaze and two drops lavender oil; thin with turpen-
tine and float on with pointed shader leaving white line
around design, fire, then paint in bands and leaves with

a pretty Yellow Green Lustre and the flowers with Orange.
Retouch lustres using Yellow over Orange in last fire,

Fire.

MARMALADE JAR—MRS, RAY E. MOTZ

OULD suggest two treatments—Lustre: flowers in Phillip’s Chinese Blue leaving ground white.
Leaves Light Green, black grey blue, makes a very pretty treatment with neither out-
Gold background; or dust the design with L. Vance

Orange and Yellow lustre.
outline.

line or background painted.

CHAUTAUQUA CLASS, MRS. L. VANCE PHILLIPS

This is a soft

28 KERAMIC STUDIO

MRS. LESLIE PATTISON MRS. NELLIE D, CLEMENT

CHAUTAUQUA CLASS, MRS. L. VANCE PHILLIPS

BOWL, ROSE MOTIF—ELEANOR STEWART

UTLINE Black. Dry in oven and paint geometrical Deep Purple one-eighth enamel. Carry same colors into bor-
forms with Gold. Flowers, Silver Yellow and Mixing der for inside of bowl, painting small dark spots with Gold,
Yellow, add enamel. Leaf forms Apple Green, with touch of Retouch Gold.

KERAMIC STUDIO

(Continued from page 17)

' their studios and shops. The response has been magical be-
cause the object is so worthy, as the money will be sent to help
the widows, mothers and children of artists, sculptors, musicians
and writers who have lost their lives in the war. If you are
interested and feel that you can afford to, will you give some
of your work to be sold for this cause? You may write or send

the work to Mrs. Spreckels, 2042 Vallejo St., San Francisco.”
e

Mrs. K. E. Cherry writes to us that she will be in Lincoln,
Neb., from June 6 to 15, then will teach in Minneapolis and St.
Paul, will be in Seattle on July 10th and will reach San Fran-
cisco on August Ist. Write to her for particulars.

BON BON, PINK ROSES—EDITH ALMA ROSS

eee the edge a deep dark blue of Banding Blue andBruns-

wick Black, and the lighter band inside this with the
same color much lighter. The roses are almost white on the
upper edge with much pink in the centers and lower side.
Paint them with English Pink accented with Deep Red Brown.

The leaves are put in very flat with a grey green made of Grass
Green, Deep Blue Green, Albert Yellow and Brunswick Black,
with a fine line on the lower edge of Brunswick Black. Put
in all the other lines, stems, ete., with Gold.

ROSE PLATE (Supplement)
Adeline More.

LOWERS are painted with a very delicate wash of Blood
Red and shaded with the same by using it a little heavier.
Leaves, Apple Green, Yellow Green, Albert Yellow, Shading
Green and Brown Green. Stems, Apple Green, Yellow Green,
Albert Yellow and a little Brown Green. Background, Albert
Yellow, Apple Green, Violet and a little Blood Red, Shading

Green and Copenhagen Blue.

Second Fire—Retouch roses with Rose, centers, Rose and
Blood Red, Yellow and Violet fer the Shadows. Strengthen
the remaining colors where it is necessary with the same colors
as in first fire.

a
STUDIO NOTE

Miss Mabel Dibble of Chicago, will be at the “Sweet
Briar Farm,’’ Charlevoix, Michigan, for the months of June,
July and August.

«
ANSWERS TO CORRESPONDENTS

N. MM. B—Why do dark colors, especially black, chip off after firing when
it is nvived with regular painting medium and thinned with turpentine?

The trouble usually is that it is applied too heavily if you are using a
good standard color.

EL, F—Will you kindly tell me what a luncheon sel consists of, and also
the correct size of salad plates and bread and butter plates?

Write to one of the large firms handling china and they can give you the
information in regard to the luncheon set. Size of salad plates is 74 inches
and the bread and butters are 6 or 63 inches.

EH. B—1. Will you kindly tell me where I can find designs or something I
can work into a design of flight of geese or storks? Study for peacock and also
for parrots? TI desire colors if possible but black and white would be a great help.
Also looking for naturalistic and semi-naturalistic Lhisile design for vase.

2. How can one get these colors so otten mentioned in the Studio, old blues,
reds, pinks, etc., dull grey, red yellow and bright red, what do these mean, also what
is dulled apple green and. other colors?

1. You can get almost any kind of a design by looking over the books
in the art room of the public library.

2. Old blues, ete., and dull grey mean quiet dull colors without any bril-
liancy and are obtained by greying your color. You can grey most colors
with a little dark grey, red yellow means a yellow with a reddish tone use a
little carnation with Albert yellow or with yellow brown. Bright red means
a bright shade of red, this might be several colors. Yellow red or carnation
are both bright reds. Dulled apple green applies to the same as the dull greys
and blues.

M, £.—Can you please tell me how to mend a tankard that has a small
piece right at the bottom broken oul and lost. I am going to mend the crack on the
inside wilh cement lo hold them together but that lillle hole is more than I know
what to do with,

We do not know of any way to help you out of your troubles if the hole
is very small you might cover it over with relief white but the mend would
be noticeable,

S. #. R.—1 TI have recently fired a sel of dinner plates decorated only with
gold which came out all spotled. They are the best French china and seemed to
be flawless. The spots look like acid had been put on and the glaze taken off.
T shall be glad if you can tell me the cause.

2. Will you also tell me what medium to use in mixing Geo. W. Davis’
Vitrifiable China Cement and what you consider the best cementjor repairing
broken china,

1. It sounds as though there must be some gas or fumes in your kiln,
it may be from a defective flue.

2. Water is probably the medium to use as that is the medium used in
most of the cements on the market. Most any of the cements are good for
they are all about the same thing.

S.S. J. M.—Will you kindly tell me what to do to remove a blue stain on
a Satsuma vase. The slain was on it when it was bought. I thought it might
disappear in firing but it does not. The design does nol cover il and il spoils
the large cylinder vase.

There is no way to remove the spot as it is probably some color that was
in the clay when the vase was made, It is always best to plan your design so
if covers any spot of this kind. Could you not put some tint over the spot
so 1t will not be so noticeable?

KERAMIC STUDIO

Rk. T.—1 What is the maller when a piece of china does nol glaze well?

2. Is it wise to use the various glazes and for which firing?

3. What other method could one use to bring out the glaze?

4. When one uses unfluxed gold over color or on Belleck should one use
lwo coals of unfluxed or should the second coat be roman gold?

1. The piece is under-fired if it does not glaze.

2. It is not necessary to use any glazes as most of the eolors now on the
market contain the glaze.

3. The dry dusting method, in which the oil is pamted on and the color
dusted into it, glazes very easily though if you fire hotter you should have
no trouble with glaze in any method.

4. Unfluxed gold should be used for both fires.

E.G. T.— How are designs sent in black and white, their method?
2. Can matt colors be mixed with glaze or jiux and get glazed surface effecl?

3. Can white gold be used successfully over liquid silver?

1. The design may be carried out in either charcoal or ink,
2. Yes.

3. Yes,

W. J. B—After I had fired a dish once small black specks appeared all
over the china. What do you suppose the cause was? Could I remedy it?

2. What kind of brushes are best to use for china painting?

3. Is there any special pen to use for Black outlining?

1, If the specks came out when there was no paint as well as when there
was it was probably a poor grade of china and cannot be remedied.

2. It depends on the work you are doing. A camel’s hair brush is best
for realistic work,

3. Get an outlining pen from an art dealer.

G. 2, M1
glaze?

2. How is china given a bisque finish?
il an overglaze given with last fire?

3. What number cone do you use in firing Satsima enamel?
on French and German ware?

4, Ts it possible to gel an enamel color chart and also chart of dusting and
standard colors?

How can I “fix” a piece of china that has scratches on the
Can anything be put in and fired so as to hide the scralches?
Is the piece decorated first or is

Also enamels

1. lf the scratch is in a place so you can have the design come over it
you could dry dust over it and it will probably cover it, there is no
other way.

2. Do you mean a bisque finish over the entire piece, we have not heard
of china being decorated in that manner so do not know, the matt colors have
no glaze and have the bisque finish, perhaps that is what you meant.

3. Satsuma enamels are fired between an 017 and 018 cone and all others
at about the same heat.

4. The Robineau Pottery has a color chart of Mrs. Cherry’s dusting
colors. But this reproduction of colors in printers ink is very unsatisfactory
and for this reason they have not made a chart of standard colors and enamels.

HE, lL. B—Can you tell me what causes an wnglazed, circular white spot
having a well-defined center which sometimes appears on pieces after the fire?
It looks as tf some particles had struck it and burned there eating the glace and
also the color, if il be colored. These spots come singly or in groups and are some-
times large and sometimes very small. I have been firing for nine years using
gas as fuel and have never had this difficulty until the last two years. I am now
using a kiln purchased last summer and ts satisfactory every other way.

The trouble may be caused by dampness. Have you written to the manu-
facturers of the kiln, they may be able to help you.

Mrs. H.G. W.—I have a vase with panels of green lustre that wasn’t a suc-
cess, will you please tell me what I can do with it , would another coat of green
lustre help it or another coat of Mother of Pearl? Could I put on green malt
color over the green lustre possibly two fires with the green malt,

If the lustre is not too uneven another heavy coat of the green lustre
may help it. The Mother of Pearl would not very likely affect it.

The lustre could be taken off easily with a china eraser as it erases very

easily, The matt green could be dry dusted on in one fire very successfully.

BE. K—1 After a lustre has been fired can it be painted over satisfactorily?

2. Will the Baby Grand China kiln do good firing?

3. I broke a leg off of a bowl. Is there any thing I could cement at on
with paint over it and then fire?

4. Can biack paint mixed wilh sugar and water be put on wilh a pen? I
have not had success tn doing tt.

ik, ASS,

2. We do not know anything about the kiln.

3. Use cement for mending china sold by all art dealers, it is mixed
with water to the consistency of thick cream.

4. Yes, you probably did not rub the paint smooth enough and use it
thin enough so it flows easily from the pen.

ROSE PLATE—ADELINE MORE

JUNE 1915 COPYRIGHT 1915
SUPPLEMENT TO KERAMIC STUDIO PUB. CoO.
KERAMIC STUDIO SYRACUSE, N. Y.

Little Things) ff | au: And China Painters |

Illus- WH ITE CHIN A Get our good Art Material and White China

nd be satisfied. Lists sent on request.
To Make. ‘
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The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF JULY, 1915

See eee

Editorial

Black Eyed Daisies (Color Supplement)

Design and its Application to Porcelain (Continued)
Eighth Annual Exhibition, National Society of Craftsman
Keramic Society of Greater New York

Round Box

Plate

Design for Sugar and Creamer

Breakfast Set, Platter

Belleek Vase in Flat Color

Salt Shaker

Cup and Saucer, Wild Senna Moti

Plate in Enamels

Belfeek Bowl

Plate

Bowl, Persian Motif (Color Supplement)
For-Get-Me-Not Plate

Answers to Correspondents

Eleanor N. Harlow
Henrietta Barclay Paitst

Charlotte P. Palmedo
Albert W. Heckman
Netta Botts

Clara L. Connors

Doris Dawn Miffs

May B. Hoelscher

Mary F. Overbeck

Alice Seymour

Dorothea Warren O’Hara

_Elma S. Ritter

Albert W. Heckman
Nell Sherrod

NATURALISTIC SUPPLEMENT

Plate in Wild Currants
Platycodon Grandiflorum
Alpine Harebell

Plant Analysis, Gloxinia
Evening Primrose

Plums

Mountain Laurel

Iris :

Plate with Border of Acorns

No. 2 Size 14x 12 in......... $30.00
No, 3 Size 16x 19 in......... 40.00

WRITE FOR DISCOUNTS.

| Gas Kiln 2 sizes

THE OLD RELIABLE

The thousands of these Kilns in use testify to
their Geod Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

Jeanne M. Stewart
Lillian Baker Sturges
Edith Alma Ross
Mary L, Berry
Eleanor N. Harlow
Lucy May Shover
Marion L. Fosdick
Marion L. Fosdick
Adeline More

(879-1918 FITCH KILNS

The only fuels which give perfect results in
Glaze and Color Tone : P

Charcoal Kiln 4 sizes-

No.1 Size 10 x 12 in,
No.2 Size 16 =x 12 in.
No.3 Size 16x 15in
No. 4 Size {8 x 26 in

STEARNS, FITCH & CO., : SPRINGFIELD, OHIO

CONIA ALP wWWH

BLACK-EYED DAISIES—E. N. HARLOW

SUPPLEMENT TO KERAMIC STUDIO PUB. CO.
KERAMIC STUDIO SYRACUSE, N. Y.

SYRACUSE, NEW YORK

July 1915

NEW BOOK has just been placed on
aif the editor’s table, “Famous Italian
Ve @|f Pictures and Their Story,” Frances
aarivees|y Haberly-Robertson, author and pub-
Fee lisher, care of Progressive Advertis-
Benlf ing Co., Fort Wayne, Indiana. This
is entertainingly written, full of con-
| densed information and welland fully
y illustrated. We can cordially recom-

= a mend it to all wishing to inform them-
selves in this line of art reading,

x OK
Apropos of our editorial of last month, one of our sub-
_scribers writes that she could not think of making a profit out
of her pupils by getting up a club of subscriptions at club rates.
And so she does not get them to subscribe at any rate at all.
Now if she feels that way about it, there is nothing to prevent
—her dividing the profit with her pupils or club. But we think
that any reasonable person has no objection that the one who
does the work of getting up the club should have the profit.
fe Se
We give this month the work of the N. Y. S. K. A. shown
at the National Society of Craftsmen, It was at this exhibition
that Mrs. O’Hara was awarded the honorable mention for
craftswork which we mentioned two months ago.
Hq OO
These summer days invite one outdoors and the garden be-
comes the goal of all one’s thoughts. To combine, then, busi-
ness and pleasure becomes the aim and duty of all ceramic dec-
orators. ‘To take a sketch book, a few colors and brush, ens-
conee oneself in some shady corner and to commune with the
spirit of the garden and draw inspiration therefrom is alluring
from every point of view. Every garden and every year sug-
gests new themes and new color combinations. A dainty spring
flower that one hears little about, yet which would be most
effective in design, is the Virginia Blue Bell or Onestensia, pen-
dant clusters of a truly azure blue with pink buds and whitish
green foliage. Another flower with similar colors and form but
lower growth and white dotted tufts of foliage, the old fashioned
Comfrey, would be equally attractive, anda little later thesame
colors are repeated in the lovely Forget-me-not and the gigantic
Anchusa. Then there are the day lilies in yellow, orange with
grass like foliage and white and purple with broad round leaves.
Even if we omit the garden favorites, Lilacs, Iris, Peonies,
Roses, Phlox, Pansies and the spring flowering bulbs, we still
have a wealth of material that is not often called upon for
design, but is equally desirable for it, if not more so. Here
are the curious flat seed follicles of Honesty, the blue and white
Monk’s Hood, the various Delphiniums. Even the huge Orien-
tal Poppies are to be found now in light salmon pinks. white and
deep crimson. Then there are the blossoms of the Tulip tree,
those greeny, yellowy, pinky wonders indescribable by the pen.
So many of the flowering shrubs, too, have blossoms worthy of
gathering into one’s scrap book. The yellow bells of For-
sythia coming before the leaves, the Buddlya with its long spikes
of violet and rose for-get-me-not-like fragrant blossoms. The
various honeysuckles, flowers and berries; the scarlet flowering

quince; the pink and white Weigelias; the Viburnums, with thei
snowball blooms; Hydrangea, Snow berry, Indian Currant.
The list is endless. Even up to frost one can gather material.
After the Phlox and the Chrysanthemums and Dahlias of all
types and colors, come the fruits of the Barberries, Honeysuckle
and others, and the seed pods, often more interesting than the
flowers themselves. This is not a garden treatise, so we will
only add our time worn advice to go into the garden with the
honey bee and ant and store up provision for the winter’s need.
m

We will be glad to have letters, illustrated or otherwise,
from those of our subscribers who go to the exposition at San
Francisco, telling us any interesting details in regard to the
ceramics there, we have the promise of illustrated articles on the
subject for Keramic Studio, but they may not be ready early.

x €
BLACK-EYED DAISIES (Supplement)

Eleanor N. Harlow

UTLINE is Dark Grey anda little Dark Brown. Flowers

are Yellow Brown, a little Yellow Red and a touch of

Dark Grey. Center of flowers, Dark Brown, Yellow Brown

and a touch of Black, Leaves and stems are Apple Green,

Yellow Green, Dark Green and Brown Green. Background is
Dark Grey and a little Apple Green.

Water Color Treatment
Rhoda Holmes Nichols

As these Black-Eyed Daisies are given in a decora-
tive method, so will the rendering in water colors be de-
scribed. Decorative in this sense means that modeling is
almost entirey omitted, and the outlines are insisted upon.
The coloring is simplified, and a little conventionalized, not
only in the stems, but in the leaves. Wedo not seem to miss
the exact imitation of nature, and the whole study well de-
scribes the flower in its beauty of lme in a more perfect way
than if its lines were lost in light and shade.

As the background is of the same tint all over a tinted paper
can be used. A mounting board would answer the purpose, and
its rather smooth surface would be good for the clearly defined
outline. If that, or a tinted drawing paper can not be found,
smooth water color white paper board should be tinted after the
drawing has been completed. A very large brush should be used
for this purpose and it should be kept wet from the top to the
bottom and all dry together. ‘The colors to use are Cobalt Blue,
Light Red and a very little Yellow Ochre.

The orange flowers are sufficiently low in tone to be painted
right over the ground, and more particularly is that able to be
done, as Orange Cadmium is an opaque color. The centers are
made with Burnt Sienna, Prussian Blue, and a little Aligarin
Crimson. For the leaves use Hooker’s Green No. 2, Raw Sienna,
and a little Rose Madder.

For the final outlining of the whole study a crowquill pen
will be more satisfactory thana brush. Higgin’s Water-proof
Ink or India Ink should be used, and an equal pressure should
be born on the pen throughout. There is a slight variety of
color in the flowers. Cadmium and Orange will be all that is
required.

DESIGN AND ITS APPLICATION TO PORCELAIN
Henrietia Barclay Paist

PROBLEM XIV. COLOR HARMONY, APPLICATION (Continued)
“Beauty of Color lies in Tempered Relations. Music rarely touches the
extreme range of sound, and harmonious color rarely uses the extremes of
color light or color strength. Regular scales in the middle register are first
given to train the ear, and so should the eye be first familiarized with medium
degrees of color.” —Munsell.
HSSON XIII, if assimilated, has given us a basis for our
color work—a definite understandable system for the
selection of our color schemes. The most important point and
the one hardest of comprehension is the fact that color has
three dimensions or qualities. It is not easy to differentiate
between the valwe of a color and its chroma, although we of
course, recognize the softening process. But we are apt to
confuse this process with a change in value, which may, or may
not, take place. A color may be reduced in intensity without
changing its value—its relation to Black and White. Taking
an illustration from nature, a leaf may turn from Green to Red
in the Autumn without changing its value, later it may also
change from a clear Red to a dull or neutralized shade without
having changed its value, although in the process it may also
have lost in value. In the demonstration, then, of color har-
mony and color balance, the neutralized colors play an impor-
tant part, being used almost entirely for backgrounds and large
areas, the pure colors being reserved for accent. Careful study
of standard combinations will soon train the eye to “feel’”’ har-
mony or discord without reasoning out the theory. For prac-
tice in the application of our theories, we will take our units of
design as shown in value, using these values as a guide for our
color values. Illustrate as before the two kinds of harmony,
show also the warm and the cool color schemes. Work for
rhythm and balance and the harmony that results from these.
In our next problem we will take for our application the exer-
cises of Problem IX.

EXERCISE

Select from Problems V and VI, six units of design for the
application of our color theories. Show in two analogous and
in two contrasting harmony: in one a warm and in one a cool
color scheme. Show under each unit a color analysis (see
illustration), indicating the Hue, Valwe and degree of Chroma
of each color used. Use for this purpose the Japanese paper
if procurable, preparing as for the work in neutral values. Any
water color paper may be used for these experiments but the
Japanese paper is especially practical where the work is sent
in for criticism. Use the same brush for washes as in the neutral
value work, the smaller brush being reserved for outlines, which
by the way are to be considered as a part of the value work and
must be tempered to the other values used. A sharp outline
may spoil an otherwise harmonious color scheme.

PROBLEM XV. COLOR HARMONY, APPLICATION (Continued),

“Tt is not claimed that discipline in the use of subtle colors will make
another Corot or Velasquez, but it will make for comprehension of their skall.”’
—Munsell.

“Art is not a science, but when science puts its knowledge into practice,
it becomes Art, hence Art may have a scientific basis and is at its best, crea-
tion,” —Wallter Crane.

ONTINUING the practical application of our color theo-

ries we will revert to design of Problem IX, border, tile
and plate, which already have been suggested in values. Re-
member that a background should never be a pure color—a
color in its full intensity. Choose either a tint or a shade of a
color and then decide as to whether you will have an analogous
or contrasting harmony; whether you will show a cool or a warm
color scheme. Watch as before for your color balance, dis-
tributing your colors according to their attractive force, the

KERAMIC STUDIO

greyed colors in larger and the pure colors in smaller areas.
Proceed slowly and cautiously with color. Note in illustra-
tions the gradual evolution from the monochrome through
analogous harmony—to the more daring combinations of con-
trasting colors. Refer continually to your charts and diagrams
until you have them perfectly as a mental picture. If your
understanding is not complete, the criticisms will set you right
and gradually the whole subject of color will become clear and
we will be able to work with a definite understanding of a sys-
tem of color, instead of depending for our judgment on a mere
“feeline”’ or “taste.’’ Color is a large subject but like any
other it is made simple by a system, by a method of approaching
it. Once grasped, the system makes of it a definite subject,
and you will enjoy the mental discipline of the work of selecting
definite color scheme, based on a scientific knowledge of color
values and color harmony.
EXERCISE

Put designs of Problem IX (Border, Tile and Plate) into
color, being guided with reference to the color scheme by the
use of the articles and by the type of the design. Watch as
before for the balance of the colors and for the general harmony,
choosing the color schemes methodically from the charts as per
suggestions in this and previous arguments, Submit two sets
for criticism, showing in one a cool, and in one a warm color
scheme, show as before a color analysis of each design, indicat-
ing the three qualities—Hue, Valueand degree of neutralizaticn.

KERAMIC STUDIO 33

DOROTHEA WARREN O’HARA

.EIGHTH ANNUAL EXHIBITION—NATIONAL SOCIETY
OF CRAFTSMAN

HE National Society of Craftsmen held its eighth annual
exhibition and sale in the gallery of the National Arts
Club during the month of December.

The Trustees of the National Arts Club had placed at
the disposal of the National Society of Craftsman a one thous-
and dollar bond, which was exchangeable for a life member-
ship in the National Arts Club; this bond to be awarded as
prize to the member exhibiting who should be adjudged the
best craftsman. The life membership prize was awarded to
Karl von Rydingsvard (wood carving,) first honorable mention
to Dorothea Warren O’Hara (ceramics,) second honorable

mention to Grace Hazen (jewelry,) third honorable mention
ee Savas leselile (j ewelry.) MRS. ISABELLE KISSINGER

DOROTHEA WARREN O’HARA

KERAMIC GUILD OF THE NATIONAL SOCIETY OF CRAFTSMEN

34 KERAMIC STUDIO

MRS. S. D. STODDARD

MRS, CARRIE L. GWATKIN

MRS. ISABELLE C. KISSINGER

MRS, S. D. STODDARD

MISS ESTELLE GOODLET

KERAMIC GUILD OF THE NATIONAL SOCIETY OF CRAFTSMEN

KERAMIC STUDIO

Dare

MRS. J. B. GWIN

MRS. ABBIE WALKER MRS. CARRIE L. GWATKIN

DOROTHEA WARREN O’HARA

KERAMIC GUILD OF THE NATIONAL SOCIETY OF CRAFTSMEN

36 KERAMIC STUDIO

KERAMIC SOCIETY OF GREATER NEW YORK
Charlotte P. Palmedo

HE Keramic Society of Greater New York held the Annual
Meeting May 7, 1915, at the Park Avenue Hotel, New
York City, which will be the headquarters of the Society for the
coming year. The Society showed a most successful year, hav-
ing held a large and interesting exhibition at the Hotel McAlpin
in November, 1914, and a most helpful course in Design under
Prof. Grace Cornell, of Teacher’s College, New York, after Jan-
uary 1, 1915. In spite of all this the treasurer showed a sub-
stantial balance, which was gratifying.

The plans for 1915-1916 offer the members still greater op-
portunities for advancement as two courses of study are to be
given. The Museum of Natural History has given the use of
a lecture room for the season. Mr. Marshal Fry will give a

new course on Table Decoration, planned especially for the So-
ciety and Prof. Cornell will give a series of lessons in the Princi-
ples of Design for those new to the work.

The officers elected for the coming year are:—President,
Mrs. Dorothea Warren O’Hara, New York; Ist Vice-President,
Mrs. W. A. Coster, Brooklyn; 2nd Vice-President, Mrs. George
Chichester, Brooklyn; Recording Secretary, Mrs. Carruth, New
York; Corresponding Secretary, Mrs. T. F. Hatfield, Hoboken;
Treasurer, Mrs. E. E. Smith, New York.

Chairmen Standing Committees:—Admissions, Miss Lor-
ena Wilson, Brooklyn; Educational, Miss Marguerite Cameron,
Orange; Exhibition, Miss Nell Garner Prince, New York; Fi-
nance, Mrs. Elizabeth Roth, New York; Printing and Publicity
Miss Charlotte P. Palmedo, Brooklyn; Extension, Miss Harri-
son, Orange; Good Fellowship, Mrs. W. W. Hilditch, Newark.

ROUND BOX—ALBERT W. HECKMAN

This is to be carried out in Roman Gold with Yellow and Yellow Brown Lustre.
Another treatment would be to use Light Green Lustre for the background and

Brown paint.

The dark touches on the buds are of Yellow

Yellow Lustre for the flowers with Green Gold instead of the other.

KERAMIC STUDIO 37

PLATE—NETTA BOTTS

IL all dark tones except line at edge of plate and dust
with Florentine Green.
the space between the two fine lines at the edge of the plate

and dust with Grey Blue.
Oil the square flower form and very little Albert Yellow may be painted over the remainder
of the plate if a background is desired.

A thin wash of Pearl Grey and a

DESIGN FOR SUGAR AND CREAMER—CLARA L. CONNORS

Oa Black. First Fire—Background Copenhagen

Grey; dark band, handles and band at edge of cover,
Grey for Flesh; leaves one part Empire Green, one part Grey
for Flesh, painted in rather light; flowers left white; narrow
stems on bowl and cover and wide light band at top of bowl

one part Silver, one part Roman Gold. Second Fire—Shade
leaves with a little Empire Green; flowers Pink at the ends
with Pompadour. Go over bands with the Silver and Gold
mixture again.

KERAMIC STUDIO

‘ATBSSODOU SI OUITINO ON

‘pesn og Av onfg Surpueg pue Acorn yrec] Jo eul[yno ue peasep jt nq
ond Aer) YIM ysnp pue sooseds yrep oy} [IQ “Busnq s0j onjg yaeq YIM Ysnp pue soseds 4431] Te lo

STTIA NAVA SIX4OG—aXLLVId “LAS ISVAMVAAE

KERAMIC STUDIO

BELLEEK VASE IN FLAT COLOR—MAY B. HOELSCHER

hagen Blue, 1 part. Darker geometrical forms Shading Green,
2 parts, Banding Blue, 2 parts. Touch of Black, say a trifle

BecksRouNnD Pearl Grey. Outline Black and Pearl
Small forms in design Yellow Red. Two firings.

Grey mixed. Flowers Carnation. Light geometrical

forms Shading Green 2 parts, Banding Blue 1 part, Copen- _ heavier.

40 KERAMIC STUDIO

SALT SHAKER
May B. Hoelscher
UTLINE flowers in Black. Band at bottom of salt
shakers is in gold and centers of flowers are in gold.
The three flowers are Delft Blue enamel, Deep Purple with a
touch of Brown 4 enamel and Yellow enamel. Leaves Green
enamel.

FULL SIZE SECTION
OF PLATE

(Page 41)

CUP AND SAUCER
WILD SENNA MOTIF
MARY F. OVERBECK

EAVY outlines to be done

in Gold. White berries

to be painted in Yellow Ochre

with a little Yellow Brown;

other parts of design to be in

Olive Green with a little Pear!

Grey anda little Black. Back-

ground spaces; apply a delicate

tint of Violet No. 2 witha little
Pearl Grey and Black.

KERAMIC STUDIO

PLATE IN ENAMELS—ALICE SEYMOUR

RACE in design but donot ink, paint bandsand background Grey Green three-fourths, Royal Green one-fourth, fire.
of flower and leaf forms with Grey Green, let stand until For flower forms use Old Rose Enamel, or any dull shade of

dry enough to powder, use same color, paint outside band with pink, and for leaves Dark Green Enamel.

There is no outline.

KERAMIC STUDIO

(Cp 28ed juaurjvar7)

VaVH.O NHdaVA VEHLOAOG—IMOP WAATIAA

ACN UASNOVAAS OIGNLS DINVAAM
sepey Sal tiel CeyitalinVetss SyiADs/-s!Sh| OL LNAWANddnAS

SI6l LHOIYADOD 2NUalh AT HaAle

NVWHOSH M LYASTIvV—-AILOW NVISHSd “1IMOEG

1 4
a i: in —- a = . — n. ~ ~

KERAMIC STUDIO 43

DESIGN FOR PLATE—ELMA S. RITTER

UTLINE and all darkest tones are Gold. Second Fire—

Oil leaves and outer band and dust with Water Blue.

The three light spaces in flowers are oiled and dusted with Bright

Green. The large light panels between flower sections and the

space at edge of the plate are oiled and dusted with Glaze for
Green; this should be applied very thin.

ee
BELLEEK BOWL (Page 42)
Dorothea Warren O’ Hara

epee shape of this Belleek Bowl was designed by Dorothea
Warren O’Hara as also the decoration. Enamels used,
Dark Blue, Old Egyptian Turquoise, Pale Lilac, Warren’s White
Enamel used for white around center of flowers. The White

Enamel makes the flower more brilliant as there is quite a con-
trast between the creamy glaze of the Belleek and the White
Enamel. Gather enamel together with Warren’s Enamel
Medium and thin with pure turpentine. Grind until very
smooth, float on with china liner No. 2.

BOWL, PERSIAN MOTIF (Supplement)
Albert W. Heckman

IRST Fire—Oil in all leaves, stems and bands and dust
with Water Green No. 2. Flowers are Bright Green
one part and Glaze for Green two parts. Buds are Grey Blue.
Second Fire—Oil in all dark blue parts and dust with
Dark Blue for Dusting.
Third Fire—Dust the whole bowl! with Glaze for Green.

KERAMIC STUDIO

FORGET-ME-NOT PLATE—NELL SHERROD

pee light flowers with Deep Blue Green and a little
Turquoise and add Banding Blue for the dark ones.
Centers are Yellow and Yellow Brown. Leaves and stems
Apple Green, a little Dark Grey and Yellow Green and Yel-

low Brown. Paint a band about 3-16 of an inch wide at edge
of plate with Dark Grey and a little Yellow Brown.
ee
SHOP NOTE

A. H. Abbott & Co., of Chicago, one of the oldest art ma-
terial houses in that city, has recently moved to No. 119 N.
Wabash Ave., not far from their old address.

ec
STUDIO NOTE

Mrs. Anna E. Pierce will teach in Oakland, California,
during the months of July and August.

ANSWERS TO CORRESPONDENTS

F. L. B—I1 am painting a chop plate and using design Jor a plate by Mar-
garet Wistrand in August 1912, Would like to know the name of the flower.

No. 2—I have done very little dry dusting and would like to know how to
keep the vein markings in the leaves lighter than the rest of the leaf. In dusting
they would very naturally acquire the same depth of color. Can part of the color
be taken off?

No. 8—The illustration of the above plate seems to have a background behind
the design, what color would this be? Also, in applying a tinted background
would it not have to be put on and fired before any of the dry dusting was done?

No, 4—Could not this design be tinted with the wet colors, and if so, would
the same colors be used and in the same proportion as given for dry dusting?

We cannot find the name of the flower; it is a wild flower; colors are blue
and lavender.

The light veins should be dusted separately from the leaves, to procure
the difference in tone, add a little Shading Green and Dark Grey to the mix-
ture called for, using it on the darker tone.

You would not put a background over the entire surface when your flowers
are such a delicate color. A background is not necessary in this, but if it is

HIGGINS’ |

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“BOOK OF CUPS AND SAUCERS”

Published in one volume of 26 pages, it contains the choicest designs published in back numbers of
KERAMIC STUDIO—many of which are now entirely out of print; and are excellent examples of
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CONTRIBUTORS

JESSIE M. BARD ss
MARY L. BERRY

MARY L. BRIGHAM

LENA E, HANSCOM

ALBERT W. HECKMAN

MAY B. HOELSCHER

MAY B:; JENNINGS

NELLIE J. LEYMAN

M. C. McCORMICK.

DORA V. McCREA

DORRIS DAWN MILLS
ADELINE MORE

HENRIETTA BARCLAY PAIST
EDITH ALMA ROSS

ELMA S. RITTER

LOLA A. ST. JOHN

YUKEY R. TANAKA

W. H. WATKEYS

FLORENCE WYMAN WHITSON

“4 a
ye

AMONTHLY MAGAZINE FOR THE POTTER AND DECORATOR

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF AUGUST, 1915

— (9

Page
Editorial : - 45
Design and Its Application to Porcelain (Continued) Henrietta Barclay Paist 46
Vase Mary L. Brigham 47
Bowl E Yukey R. Tanaka 4 48
Bouillon Cup and Saucer, Orange Blossom Motif Lola A. St. John a) “49
Chinese Design Copy Mary B. Jennings : 50
Plate ae Dora V. McCrea ~ 50
Milk Weed = 2% M. H. Watkeys 51
Cup and Saucer M. C, McCormick 52
Vase in Gold and Lustres Albert W. Heckman 53
Forget-Me-Not Bowl Albert W. Heckman as
Medallions and Hat Pins Lena E. Hanscom 54
Work of Kreis Art Studio, Marion, O. 55
Plate, Conventional Peacock Edith Alma Ross 56
Mrs. Cherry’s Class in Lincoln, Neb. 57
Suggestions for Initials 57
Conventional Flower Design for Smalf{ Plate May B. Hoelscher 58
Bowl, Orange Blossom Motif (Color Supplement) Dorris Dawn Mills 58
Tea Set (Color Supplement) Adeline More 58
Answers to Correspondents . 58
NATURALISTIC SUPPLEMENT
Wild Rose Plate Adeline More I
Flower Arrangements on Smalf Pieces Dorris Dawn Milfs 4,
Honey Jar, Wild Roses and Bees Elma S. Ritter 3
Honey Jar, Bramble Roses ; Elma S. Ritter 3
Plate and Border in Gaifllardia Nellie G. Leyman 4
Apple Blossom Panel Albert W. Heckman 5
Wid Flower Sketches % Florence Wyman Whitson 6,7
Plant Analysis, Snap Dragon and Monks Hood Mary L. Berry 8

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SYRACUSE, NEW YORK

August 1915

kK had planned on publishing a series
of most interesting and entertaining
letters from a member of the ceramic
“sorority” who has been spending the
last year in China and Japan. By a
mischance the first letter got away
from us, and we have been so long in
finding it and so much material has
| accumulated that we may have to
give up the idea. We are, however,
publishing in this issue a part of the last letter from Japan as it
will be of special interest to ceramists.

I haye visited two potterics, Sakada and Kiukozan, where Satsuma ware
is made in Kyoto, Japan, and watched the various processes. In the Kiuko-
man we were taken first to the room where a young Japanese was turning
large vases on a wheel. There was a square opening in the floor and a 18 inch
disk in the center a little below the level of floor. The operator, seated on the
floor, turned this wheel or disk by hand, that is, by placing a stick in a small
groove in the disk and turning it rapidly, then working with the clay as long as
the impetus lasted. He took a large mass of wet clay and placed it in the cen-
ter and patited and pounded it in a tiny mound and set the wheel going. He
then worked a bit up into a knot which he deftly flattened out, thinned with
his hand on under side and a piece of rubber on top, trimmed edge with a
knife, rounded edge with his hands, made the ridge in center with his rubber
gauge, put a piece of string through the clay at the bottom and lifted off—a
saucer. In a moment a cup was made, then a bowl, and then a large vase.
The vase down to the largest part was made first, cut off by string and set
aside; then the bottom was shaped, the two put together and welded and
smoothed by the deft fingers and the piece of rubber, and moistened with water,
The gauge was applied; the size and height were found to be perfect, and the
vase was then cut by a string from the piece of clay on the board and lifted by
a strap to a board to dry. We then watched other operators make vases, jars
and bowls, and from this room were taken to see the kilns. The bisque is
fired every day, but glazing done only twice a week. The kilns are huge
mud mounds on the side of a hill, one above another, but connected in some
way. They were all stacked ready for firing. Wood was the fuel used.

We were then taken to the buildings where various other things are made
of porcelain. Dolls, dogs, cats, lions and those small images one sees every-
where and wonders who ever buys them. The operators here are young Jap-
anese women. Several had small babies strapped to their backs while they
worked,

We then visited the decorating department, and I wish I could make you
see the wonderful skill and speed of these workmen, all seated on the floor,
outlining with precision more rapidly than we can draw, the brush exactly
vertical between the third and fourth fingers, banding, making borders and all-
over designs. Irom there we went to the stock room, and I saw many adora-
ble shapes in Satsuma which we never seein America. I .told a representative
of the company of the mistake made by most manufacturers in making the
open sugar so much larger in proportion than the creamer, and put in a plea
for more shapes suitable to conventional design.

Separate from the rooms and buildings in which the Japanese do their best
work, are places where workmen are turning out large numbers of dreadful
looking vases with ornate handles, a mass of brilliant color and cheap gold,
impossible things which fill our five and ten-cent stores. I asked what they
did with these things, as the Japanese never use them in their homes. The
reply was what I feared it would be: “We ship them to America. The for-
eign trade wants them.” You should see the cheap wares the Japanese and
Chinese use. A simple bit of decoration or no decoration at all, soft color
glazes, nothing to offend in any way. If we would educate the taste of our
poor people, it seems to me we must urge those buyers who purchase these
goods im Jarge quantities, to ask for the things used in this country and not the
monstrosities i gold and color which we now take in such numbers.

The last department visited was the shipping room, and there we saw the
packers busily engaged in wrapping and checking up a large order for Burley
& Co., of Chicago.

Hallie B. Smith.

June 21, 1916,

Mrs. Smith’s remarks upon the sort of stuff made for the
American market is a sad commentary on the results of art edu-
cation in our public schools, the lack of adequate explanation,
from the standpoint of artistic taste, of the objects in our mu-
seums, and in fact, the lack of such objects of art crafts in most
of our museums; and to go still further, the lack of art crafts
museums in most of our smaller towns, and many of our cities.
We have been so absorbed in the practical things of life that we
have failed to create about us an art atmosphere. A feeling
for the fit and the fine should be as natural as breathing. But
we will never have it as a nation—never live it as the Japanese
do—until we have stepped aside from the strenuous life and
taken time to refresh our souls; to build our homes, our pub-
lic buildings, our shops even, and our streets, with some thought
of individual expression and of restful co-relation; to have in
our shops objects that are harmonious and simple; to
cast aside the thousand and one useless and frail objects that
crowd our homes, and upon which we waste our time and our
thought, as well as our money; to have in our homes, as Wil-
liam Morris said, only those things that we know to be useful
and believe to be beautiful, and to acquire a true standard of
beauty by which we may have courage to take nine tenths of
our belongings and consign them to the flames, rather than to
suffer by association with them, a deterioration of taste for our-
selves or for others.

It is a difficult matter, however, to have the courage of our
convictions, so many considerations enter into our lives. There
are the wedding gifts that must be kept in evidence for fear of
affronting our friends; there are the early loves that we have
outgrown but which association still holds dear; there are the
things we keep because they are old or belonged in the family.
But accidents occasionally relieve us of some of these spots on
the fair face of the moon and we need not replace them. But
worst of all, with many of us—perhaps with most—money con-
siderations lead us not only to endure, but to perpetrate and
disseminate more objects of degenerate art which can be classed
neither as useful or beautiful. The editor of Keramic Studio
with the rest must strike her breast and cry “Mea culpa.”

am OK

We give this month two pages from the flower note book
of Mrs. Florence Wyman Whitson as a gentle reminder to our
students not to let the summer pass without a similar gleaning
of material for the winter. This note book has some thirty odd
pages of wild flowers, Some of which are quite unusual. The
names are often missing, since one must be a botanist as well as
an artist to make comprehensive notes, but names are not
necessary in this instance.

Readers of Keramic Studio will be interested to learn that
the editor, Mrs. Robineau, has just received notice of the award
of a Grand Prize for her exhibit of porcelains at the San Fran-
cisco exposition. It is a great gratification to be recognized in
one’s own country. The San Francisco exhibit consisted of
102 porcelains representing carved decoration, crystalline,
flammé and mat glazes.

DESIGN AND ITS APPLICATION TO PORCELAIN
Henrietta Barclay Paist

PROBLEM XVI. COLOR HARMONY, APPLICATION (continued)
“Appreciation of beautiful color grows by exercise and discrimination,
just as naturally as fine perception of music or architecture. Hach is the
outlet for the expression of taste, a language which may be used clumsily or
with skill.’—Munsell.

ET us now return to the designs of Problem X,* (Plate,

4 Pitcher and Bowl). We have suggested the values of
the colors by the neutral values shown. We have only to sub-
stitute color in the same values, selecting our Hues, Tints and
Shades, which will, by their attractive force, correspond to the
general balance of the grey scheme. This group is considered
as a set, and will be so treated. If a child’s set, we have a va-
riety of schemes from which to choose, from the monochrome
of Blue or Grey to a combination of bright cheery colors; the
type of design will again determine this. If animals or units
from toyland have been selected, we may exercise our love of
color; if the motif be floral, we will be influenced by the one
depicted. Blue Grey and Pale Yellow make a lovely combi-
nation for a child’s set, also a scheme with bright touches of
Searlet and Green. If the set is intended for an adult, we will
probably choose a quieter and daintier combination of colors
with White or Ivory ground. In the latter case, the. spotty
effect—sometimes permissible in the decoration for children—
is to be avoided. Here is where our discipline in values will
again appear. Keep in mind the two kinds of harmony—that
gained by the use of colors closely related, and that of contrast.
Cool backgrounds, as a rule, call for cool colors in the design
and warm background tints for warm colors. Remember that
we are to confine ourselves to the designs already constructed,
as these have already been criticised as to construction and
values and our problem now is that of color harmony. It is
impossible, in a course of this kind, to do more than suggest
possibilities. To limit the exercises too much narrows the
understanding of the Problem; to allow too much liberty in the
matter of selection and adaptation leaves the student all at
sea, with nothing definite to cling to, so we have tried to choose
a middle ground, hoping that the misunderstandings may all
be cleared up by the criticisms and that a better understanding
will result.

EXERCISE

Color designs of Problem X (Plate, Pitcher and Bowl)
with reference to the use of the shapes and to the motifs already
chosen. Do two sets under this Problem, one showing a cool
and one a warm color scheme; one, a monochrome or showing
close harmony and one the harmony of contrast. Watch care-
fully the balance of the colors and the general harmonious
effect, as before, choosing the color schemes methodically from
the charts and showing a color analysis, indicating the Hue,
Value and Chroma in each.

* See Keramic Studio. December, 1914.

PLATE XVII (Fig. 2)’

KERAMIC STUDIO

PROBLEM XVII. COLOR HARMONY, APPLICATION TO VASE FORMS

“The poverty of color language tempts to a borrowing from the rich
terminology of music. Musical terms, such as “pitch,” “key,” “note,” “tone,”
“chord,” “modulation,” “nocturne” and “symphony,” are frequently used in
the description of alee serving by association to convey vague ideas
in the same way the term color harmony from association with musical harmon,
presents to the mind an image of color arrangement, varied, yet well propor-
tioned, grouped in orderly fashion, and agreeable to the eye musi-
cal harmony explains itself in clear language but the adequate terms
of color harmony are yet to be worked out.”’—Mumsell.

Bec going further with our application it would be well

to consider some of these musical terms in the above
quotation. What do they mean to us in connection with our
color work? Take for instance the term “key.” We often
hear this term used in connection with a color scheme—‘‘it
was painted in a high key.”’ This means that the colors used
were pure as to chroma and light in value. In this connection

PLATE XVII (Fig. 1)

it is well to divide our value scale into three registers, upper,
middle, and lower register. The first four values, beginning
with White, may be considered as the upper register. Color
schemes using these values if pure as to chroma, will be ina,
“high key.” The three middle values, beginning with low
light, will constitute our middle register, and the four lower
ones, beginning with high dark, our lower register. This divi-
sion gives us a definite basis for mutual understanding. In
the earlier problem we have stated that a chord, made up of
notes in the same register, is more harmonious and more easily
managed than one of notes widely separated,—so in color, our
safety lies, at first, in using colors not too widely separated,
avoiding the spectacular. Also color schemes in a high key

KERAMIC STUDIO

become tiresome. ‘The mark of a colorist is ability to employ
low chroma without impoverishing the color effect.” We
have already defined the terms note and tone in our earlier Prob-
lem. Let us try to get these definitions firmly fixed in the mind
so that we may use them in their true sense.

for the practical application under this Problem we will
color the designs of Problem XI*—the vaseforms. As in Prob-
lem XVI, the values have already been suggested by the neutral
values shown. ‘The abstract design gives us entire liberty as
to our color scheme. This is one advantage of the abstract
design or the design so formal as to have lost the necessity of
considering the natural coloring of the motif. The character
of the design will determine largely the strength of the color
scheme—the key and general tone. The design of bold type
may be strong in color, while that of the more refined type
should be correspondingly delicate in color. The abstract
design shown in illustration (Figure 1) has a background of
soft neutral yellow (yellow-orange) value, “light’’ chroma No.
4. he decoration is in grey-green, dull blue and gold, the
green being middle grey in value and chroma No. 2. The
blue is low dark in value, chroma No. 2. The slender Greek
vase with the decoration from the narcissus motif is in delicate
tones of grey-green, light as to values which are confined to the

upper register but of softened chroma. The background is a
delicate tone of green, light in value, and neutralized three
times. The leaves are low light as to value but neutralized twice
(chroma No. 2). The flowers are white with a touch of pure
yellow in the center. ‘There is no outline, the values themselves
defining the design. In the low vase (Plate XIII, Fig. 3), the
decoration of mountain ash, the background is a neutralized
orange, (chroma No. 5, value, low light). In the decoration
the background spaces between the units are a lower tone of
the same color. The leaves are grey-green (chroma No. 38,
value middle grey). The berries are red-orange (chroma No.
1, value high dark). The path is of gold. The whole design
outlined in black.

The low vase, the nasturtium decoration, has a neutral
background, yellow-orange No. 4. The band behind the decor-
ation two tones lower in value and the decoration in tones of
yellow, orange, red-orange and grey-green.

For an object such as a vase or jardiniere, which, because
of its nature, becomes, as it were,a part of the color scheme of
the room, it is usually best keptlowin tone. The general tone
of our interior decorations are, as more study is given to the
subject, becoming more and more harmonious and we do not
wish even our “‘articles of vertu’”’ to jump at us as we enter a
room, but would prefer to become aware of them gradually
to make their acquaintance one at a time. This is why the
products of our best factories are so pleasing and practical:
they are confined largely to the soft greens and browns, and the
decorations, generally speaking, are low in tone. So while
we do not feel hampered by this suggestion, it is one we will
do well to note until we have gained sufficient technical skill
and artistic knowledge to produce an object of such intrinsic
worth as will place it above such consideration and in the class
of “‘objects of Art.”

EXERCISE

Put vase designs of Problem XI into color, choosing for
the color schemes such combination (chords) as will best fit the
type of the design and the size of the piece. Keep the back-
ground tones low in chroma, avoid strong contrasts; keep the
color scheme simple, using from three to five colors only in each
design; avoid sharp outlines and the use of too much gold, which,

* See Keramic Studio, January, 1915.

by the way, should be selected, as to shade, to harmonize with
the colors of the design. Silver, white-gold, and green-gold
harmonize with the cooler schemes, while yellow and red-gold
are best used with the warm colors. The metals used are, of
course, a part of the color scheme and should be selected as
carefully as any of the colors. For objects of this nature, the
matt colors will be found satisfactory especially for background
work.

VASE

Mary L. Brigham

UTLINE flowers and the leaves with Dark Grey. Stems,
dots back of leaves and center of flowers are Gold. The
handles should have a gold band on both sides. Second fire,
oil dark tint at top and bottom of vase and dust with 2
parts Pearl Grey, 1 Ivory Glaze, $ Dark Grey and a touch of
Dry Ivory. Oil fiowers and dust with Yellow for Dusting.
Oil leaves and dust with 3 parts Florentine, 1 part Pearl Grey.
Oil background and dust with equal parts Pearl grey and Ivory
Glaze and a touch of Albert Yellow. Retouch Gold.

STUDIO NOTES

Miss Ione Wheeler of Chicago has returned to her studio
in the Fine Arts Building, where she is again taking up her
work with many pupils.

Mrs. B. B. Crandall of Chattanooga, Tenn., will open a
studio at her Summer home “Woolferts Roost’? on Lookout

Mountain on Tuesdays and Fridays for the Summer. Mon-
days, Wednesdays and Saturdays at the Chattanooga
Studio.

KERAMIC STUDIO

(67 28ed juauTyearT)

VAVNVL “da AXANA—IMOF

KERAMIC

BOWL (Page 48)
Yukey R. Tanaka
Ro in the border and the design on feet are in Gold.
Butterflies and the light tone on feet are Yellow Brown
and a little Blood Red. Shading and outlines are Dark Brown.
Dark places in the figure between butterflies is Black with an
outline of Deep Blue Green and alittle Copenhagen Blue. The
geometric figure between the iris is of the same color shaded
with Copenhagen Blue. Background in border is Blood Red

Inside of Cup

Ne er ie

BOUILLON CUP AND SAUCER, ORANGE BLOSSOM MOTIF—LOLA A. ST. JOHN

STUDIO 49
and a little Dark Brown. The light part of iris is left white with
yellow marking; the darker tones are Blood Red and a little
Violet with touches of Deep Purple. The darkest tones are
Banding Blue and Deep Purple. Leaves are Apple and Yellow
Green and a very little Yellow Brown, and the space in the cen-
ter is Black. Background is Yellow Brown and a very little
Blood Red, at top, shaded down to Yellow Brown and
Yellow.

__f

Outline design in Dark Grey. For the background use a light tint of Pearl Grey and Warm Grey mixed. Wipe out flowers and
buds and give a thin wash of Ivory and shade with Ruby. | For leaves and stems use Yellow Green
mixed with a little Yellow Brown and Pearl Grey.

50 KERAMIC STUDIO

CHINESE DESIGN COPY—MARY B. JENNINGS

ROSE ANN.
4. X Ko
sO Noss
LRA 3) SEN
= =
<<

PLATE—DORA V. McCREA
‘ Outline in Black. First two bands and motif in Gold. Third band in Moss Green. Space between second and third bands
Satsuma tint. Leaves in Moss Green shaded with Brown Green. Flowers in all colors.

KERAMIC STUDIO of

MILK WEED—M, H. WATKEYS

Outline with Black. Blossoms are a very thin wash of Blood Red with a touch of Violet shaded with the same with a little
Shading Rose added. Stems and light leaves are Apple Green, Albert Yellow and a little Dark Grey. Dark leaves
Green, a little Yellow Green, Brown Green and Dark Grey. Background Pearl Grey and Apple Green.

KERAMIC STUDIO

CUP AND SAUCER—M. C. McCORMICK

LOWERS are all in enamel, made of a mixture of two-
thirds Aufsetzweiss, one-third hard white enamel. The
center flower is yellow, made of Silver Yellow toned with Deep
Purple. Leaves, Apple Green toned with Deep Purple and a
little Brunswick Black. Add sufficient enamel to make two
tones of green, making center leaf the lighter and two either
side the darker. Buds are of Dark Blue toned with a little

Brunswick Black. Dot in center, Yellow. The lines are all
gold with the exception of the one next to the outside edge,
which is Dark Blue, made of the same mixture as the blue
flowers only without the enamel. This may be made in one
firing if it is dried after the outline is finished, and then the
enamel very carefully filled in.

KERAMIC STUDIO 53

VASE IN GOLD AND LUSTRES—ALBERT W. HECKMAN

First Fire—Paint in the whole design with Roman Gold. Second Fire—Give the. whole vase a wash of light Green Lustre,
Wipe out the whites and paint with Yellow Lustre. Third Fire—Go over.all the gold and paint in
the darkest parts of the design with Empire Green.

FORGET-ME-NOT BOWL—ALBERT W. HECKMAN

q fee outer bands and fine lines in design are of Green Gold. Blue Green and Peach Blossoms. For the darker ones use

The conventional flowers, buds and broad bands are of Banding Blue and Violet. Leaves and stems are Yellow Green
hard Blue enamel. Background panels are of Grey Green. and Shading Green.
The forget-me-nots in panels and around the top of bow] are enamel if desired.
in natural colors. For the lightest flowers and buds use Deep

Green Gold may be used instead of Blue

54 , KERAMIC STUDIO

MEDALLIONS AND HAT PINS IN BRIGHT COLOR AND GOLD OR LUSTRE AND GOLD—LENA E. HANSCOM
(Treatment page 55)

KERAMIC STUDIO 65

MEDALLIONS AND HAT PINS (Page 54)
Lena E. Hanscom
O.1. The background is Copenhagen Grey with just a
touch of Russian Green. The leaves are Apple Green.
The flower form, also the stems and little dots and triangles
are Banding Blue with a little Copenhagen Grey. Outline with
Shading Green. The band around the edge is Gold.

2. Outline with Black, using the water mixture and a little
mucilage. The background is Russian Green. The flower is
Banding Blue, shaded with Violet No. 1 or 2 at the tip of the
petals. The leaves are Royal Green. Then the lower part of
the background is dusted with Banding Blue, just a very little,
dusting over the design and background together.

3. The stems are Olive Green and the sepals Moss Green,
with Olive at the tips. The petals are Violet No. 2. The
turned-over petals and spur are Roman Purple. The whole
background is Gold.

4, Outline with Black, water mixture. The berries are Cap-
ucine Red with a rim of Blood Red. The inner part of the
leaf is Royal Green, and the turned-over edge is Shading Green.
The background is Gold.

5. The petals of the flower are Peach Blossom and Blood
Red. The leaf form is Apple Green shaded with Royal Green.
The stem of the flower is Shading Green and Royal Green.
The whole background is Peach Blossom with just a touch of
Blood Red.

6. Background Air Blue. Flower and buds, Violet No. 1,
shaded with Violet No. 2 and a little Roman Purple. Centers
Apple Green, leaving a little white. Center Egg Yellow with
an accent of Carnation. Leaves Grey Green and Shading

Green. Outline Black or Gold like the rim.
7. Outline in Black. Flower is Peach Blossom shaded with
Blood Red. Leaf and center of flower Shading Green. Back-

eround Apple Green.

8. Outline with Black, then paint in dark part of flower,
and center and background with Dark Brown. Paint the shadow
side of the leaves with Olive Green. Paint the rim in Gold.

Second Fire—Wash Light Green Lustre over the entire
leaf, stems and little calyxes. Then wash Yellow Brown Lus-
tre over the flower, buds and background. The Gold on the
edge is washed over with Yellow Lustre.

9. Outline quite firmly with Black. The background has
one application of Pigeon Grey Pearl Lustre, put on with
quick, not too even strokes. The inside of the leaf and stem
is Dark Green Lustre. The border and the highlights of the
berries are Gold. Give the rest of the berries a light coat of
Ruby Lustre, also the turned-over edge of the leaf.

Second Fire—Go over the Gold. Then wash over the
berries with Yellow Lustre and the edge of the leaf with Yellow
Brown Lustre.

10. Paint in center of the petals with Rose. Outline flower
and buds with Ruby, water mixture. Outline leaves, stems,
ete. with Royal Green. Rim is Gold, outlined with Banding
Blue. Leaves, Grey Green Lustre. Do not pad it.

Second Fire—Go over flower and buds with Rose Lustre.
Go over background and leaves with Pigeon Grey Pearl Lustre
and go over Gold border once more.

11. The daisy is left white, shaded with Copenhagen Grey and
Pearl Grey. The center is Yellow Brown. The leaf is Royal
Green. The background is Dark Brown. Outlines are Black
and border is Gold;

Second Fire—Go over center with Yellow Lustre. Go
over flower with Pigeon Grey Pearl very lightly, the leaf and
stem with Light Green Lustre and the background with Yellow
Brown Lustre. Go over the Gold rim once more.

12. Background is Gold. Leaf and under part of hat pin is
Dark Green Lustre. Center of flower Ruby Purple, then
washed over with a thin wash of Violet Lustre.

WORK OF KREIS ART STUDIO, MARION, OHIO

KERAMIC STUDIO

i
:
5
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D
i
5
4
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\

PLATE, CONVENTIONAL PEACOCK—EDITH ALMA ROSS

AINT the birds with a green made of Grass Green, Dark
Green and a touch of Brunswick Black. Paint in the
lower triangle feathers with Mason’s Blue—the upper or cen-
tral five are a medium tint of Blue and the lower five are a
Deep Blue. The little eye or oval spot on these triangles are

put in with Gold.

The eye of the peacock is the white of the china. The
oblong black ornaments in the inner band are Brunswich Black
and the fine line connecting them is Gold. The pale wash
behind the birds is a solid band of Gold and all the birds and
feathers are outlined with Brunswick Black.

KERAMIC STUDIO 57

Mrs. C. A. Lutzen Mrs. C. L. Dean

Clara C. Chick Clara C. Chick

Mrs. A. D. Harman
Mrs. C. L. Dean
Mrs. E. L. Brown

Floy Dunham

May Carpenter
May Carpenter

Mrs. H.5W. Barr
Floy Dunham

MRS. CHERRY’S CLASS IN LINCOLN, NEBRASKA

RS. K. E. Cherry spent the week June 8th to 15th in the
CooverStudios. Those taking the course of lessons were:

Mrs. C. A. Lutgen, Auburn, Neb.; Mrs. H. M. Barr, 2217 Howard
St., Omaha;Neb.; Miss A. May Carpenter, Mansfield, La.;
Estelle Ennis, Mrs. C. L. Dean, Miss Floy Dunham, Lincoln,
Neb.; Miss Clark Chick and Mrs. A. D. Harman, Hastings,
Neb.; Mrs. E. L. Brown, Parker, S. D., and Miss Nadine Blos-

Nadine Blosser

Mis. C. L. Dean
Mrs. E. L. Brown Nadine Blosser

ser, Norway, Kansas. Others doing special work in china and
water color were Mrs. E. C. Salisbury, 427 No. 5th St., Mrs. S.
D. Ruth, 401 Florence Ave., Miss Davis, 1005 Market St., Bea-
trice, Neb.; Miss Edna Green, Mrs. Nettie Shugart, Pauline
Geiser, Lincoln, Neb.

The interest centered on the work in enamel designs and
in attractive landscape, bird decorations, and a number of pieces
in-dry dusting were done.

The illustrations are representative pieces, those on Sat-
suma being all in enamel. The vase with figure was combined
with panels of hollyhock and dainty enamel border above. The
landscape vases were particularly fine. The landscape and
bird tiles show possibilities for pleasing decorations for these.
The plates and Belleek bowl were very pleasing in dry dusted
colors.

Mrs. Cherry’s visit to Lincoln practically brought a summer
school to this section. From Lincoln Mrs. Cherry went to St.
Paul and Minneapolis and in August will be in Seattle and San
Francisco.

(It is regrettable that the photographs sent for illustration
do not do justice to the work. Photographs of large groups
in which each piece is small, cannot show the decoration
plainly. It would be better to illustrate only two or three
pieces plainly than to crowd too many pieces in one group. Ed.)

XY OD F

Y Sarey

SUGGESTIONS FOR INITIALS

58 KERAMIC

STUDIO

CONVENTIONAL FLOWER DESIGN FOR SMALL PLATE—MAY B. HOELSCHER

UTLINE with Black. Bands and leaves are Green Gold.
Flowers are painted with a thin wash of Deep Blue
Green and a little Sea Green or Turquoise and shaded with
Banding Blue. Centers of flowers are Yellow Brown shaded
with Dark Brown. The calyx of buds is Apple Green shaded
with Shading Green and a little Brown Green.

BOWL (Supplement)
Dorris Dawn Mulls

RACE design and outline in India Ink; tint with Moss
Green to which has been added a little Albert Yellow.
Clear out dark design and white flowers—paint darkest part in
same mixture of Green only darker. Centers of flowers Albert
Yellow real dark; then fire. Part around flowers same mixture
only lighter than design. This can be outlined in Silver or

made without an outline.

TEA SET (Supplement)
Adeline More
IL the darkest blue tones in bands and conventional
flowers and dust with Dark Blue for dusting. Oil green
in conventional leaves and dust with Florentine Green. Paint
the realistic flowers with a very thin wash of Deep Blue Green

for the light flowers, add a little Banding Blue for the next
darker ones, a little Copenhagen Blue for the darkest tones.
Leaves are Apple Green, Yellow Green, and a little Brown
Green, add Shading Green and a little Dark Grey for the
darker ones. Apple Green and Copenhagen Blue for the
shadow leaves. Background is Banding Blue, Violet and Deep
Blue Green. Paint in the Gold and fire.

Second Fire—Oil the light blue in conventional flowers
and the blue borders and dust with 1 part Grey Blue and
1 part Ivory Glaze. Retouch flowers with same colors as in
first fire where it is necessary and also retouch Gold.

ee
ANSWERS TO CORRESPONDENTS

MRS. N.G. M.—Can you tell me if there is anything particular about Black
Lustre in applying? Does it have to be pounced? Orange does, does it not? I
have never used either and want to use them on a study (Supplement to Keramic
Studio, July 1902, Coffee Set by Miss EB. Mason)

It is not necessary to pounce either the Black or Orange Lustre unless you
are covering a large surface and cannot get it even. If you put a drop or two
of Lavender Oil in the Lustre it will keep open a little longer and is easier to
apply.

E. V. M—Please tell us the cause, when we light the asbestos the flame goes
down instead of up, the burner is not covered, and there is a good draught.

If the smoke goes down as well as the flame it is due to either dampness
or the flue must be choked up.‘

M. D—1.—How do you color Salsuma ware? I put a Satsuma vase

TEA SET—ADELINE MORE

Sie ils iM IN see KERAMIC ST
CERAMIUC Sa J SYRA

Key IUNEs 2 {eloy=
SYRAC TaN

N.Y.

: ra BOWL. ORANGE BLOSSOM MOTIF—DORRIS DAWN MILLS

AUGUST 1915 - COPYRIGHT 1915
SUPPLEMENT TO ~ KERAMIC STUDIO PUB. co.
KERAMIC STUDIO SYRACUSE, N. Y.

al aa
: Here wh
areas)

tiub int ehh

OE ——— a

Price $2.50 post-paid
With one year subscription to Keramic Studio $6.00

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Published in one volume of 26 pages, it contains the choicest designs published in back numbers of
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America’s most famous decorators of china. The group of six designs for Cups and Saucers in Color
by Kathryn E. Cherry, which forms the frontispiece, is a valuable feature as each design may be

adapted to an entire set of china.

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Pots, Small Bowls, Sugar Shakers, Ointment Boxes, Syrup Jugs, Pins, Buttons, Medallions, Buckles,
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a |

: CONTRIBUTORS
:

JESSIE, M. BARD

KATHRYN E. CHERRY

ESSIE. FOLEY

MRS. F. C. McGAUGHY

ADELINE WORE

ALICE B. SHARRARD

ANNA H. WALLER

FLORENCE WYMAN. WHITSON

TWIN CITY KERAMIC CLUB
MRS R. K, ALCOTT
M. EITTA BEEDE
MRS. ARCH COLEMAN
FLORENCE A. HUNTINGTON
L. A. MOWBRAY
FRANCES E. NEWMAN
HENRIETTA BARCLAY. PAIST
EMILY HARTWELL TUPPER
ORA. VALETTA WHITE

we
Las SEPT. MCMXV. Price 40c. Yearly Subscription $4.00 /¢@@ae\\
Xi : oANW@Gs °

MONTHLY MAGAZINE FOR THE POTTER AND DECORATOR

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF SEPTEMBER, 1915

Editorial—Twin City Keramic Club
Satsuma Bowl (Color Supplement)
Plate Designs

Chocolate Pot, Violet Motif
Fernery Design, Morning Glory
Satsuma Creamer, Nasturtiums
Bowl, Nasturtiums

Belleek Bowl, Wild Grape Motif
Tea Tile

Satsuma Bowl and Plate

Vase, Jonquil Design

Plant Jar

Plate, Mountain Ash and Bird on Branch

Plates

Tile, Snap Dragon

Lustre Vase, Tulip Motif

Lotus Design for Satsuma Jardiniere
Enamel Design for Coupe Chop Plate
Morning Glory Motif

Plate, Orange Blossom Motif, (Color Supplement)

Plate, Hazeinut
Ege Cup and Tray
Plate, Roses

Plate, Cap and Pitcher, Orange Blossom Motif

Bowl, Poppies
Plant Analysis
Plate, Orange Blossom Motif

No. 2 Size $4 x $2 in......... $30.00
No. 3 Size 16x 19 in......... 40.00

WRITE FOR DISCOUNTS.

THE OLD RELIABLE

ems @ Eres

Page
59—61
Henrietta Barclay Paist 62
Mrs. Arch Coleman and Frances E. Newman 63
M. Etta Beede 64
Frances E, Newman 64
Mrs. Arch Coleman 64
Ora Valetta White 65
L. A. Mowbray 66
Mrs. R. K. Alcott 66
M. Etta Beede 67
Mrs. Arch Coleman 68
Frances E. Newman 68
Florence A. Huntington 69
Ora Valetta White and L. A. Mowbray 70
Ora Valetta White 71
L. A. Mowbray — 7
Mrs. Arch Coleman 72
Emily Hartwell Tupper 73
Florence A. Huntington 73
Mrs. F. C. McGaughy 74
NATURALISTIC SUPPLEMENT
Adeline More
Alice B. Sharrard 2
Essie Foley “
Essie Foley 4
Kathryn E. Cherry 5
Florence Wyman Whitson 5, 6, 7
8

Anna H. Waller

1879-1915

FITCH KILNS

The thousands of these Kilns in use testify to
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

The only fuels which give perfect results in
Glaze and Color Tone

No. f Size 10 x 12 im............. $15.00

bcs Ktin 2 sizes No.2 Size 16x 12 im............. 20.00

SYRACUSE, NEW YORK

September [915

HE illustrations of the work of the
Twin City Ceramic Club of St. Paul
and Minneapolis, together with work-
ing drawings of many of the best
pieces, and an account of their prog-

jig ress and study, in the present issue

of Keramic Studio, will be found in-
teresting, not only from a practical
standpoint, but alsoasan inspiration
and example to other ceramic clubs
that have so far been unable to evolve a working plan.

H OH

One of our advertisers has been strenuously advocating the
printing of advertisements in the body of the Magazine after the
fashion of several of our literary contemporaries. We would be
glad to have expressions of opinion from our subscribers on the
subject. There is much doubt in our mind as to the fitness of
_ this method of advertising to an art magazine, even if it should

be more advantageous to advertisers, which is a debatable ques-
tion, and more profitable financially to Keramic Studio. Ina
magazine of designs, like ours, it would of course be impossible
to put ads in the margin, as is done by the Saturday Evening

Post, the Ladies’ Home Journal, and others. A method might

be devised by which advertising pages or half pages would be

inserted between pages of designs, instead of being all massed
at the beginning or end of the Magazine, or by which reading
notices, which would be paid advertisements, might be mixed
with Studio Notes, Answers to Correspondents, treatments,
etc., but would it be advisable? We doubt it. We notice that
one of the popular magazines lately submitted the question to
its readers and that the consensus of opinion was strongly
against it, and we understand that several advertising experts
consider this innovation as a temporary fad which will not last,
and has not proved of any benefit either to the magazines which
have used it or to the advertisers. We are so far of the same
opinion. Meanwhile we are open to conviction, and the views
of our subscribers and advertisers will be interesting to us.

meek

We have received the following interesting letter from Mr.
Ingerson who has charge of the American Arts and Crafts sec-
tion at the Panama San Francisco Exposition:

“The following awards may be of interest to the readers of
Keramic Studio:

- Miss Maud Mason, Gold Medal.

Mrs. Dorothea Warren O’Hara, Gold Medal.

Helga Petersen, Silver Medal.

Mrs. Mary B. Elling, Silver Medal.

The Chicago Atlan Club, Silver Medal.

Mary Bacon Jones, Silver Medal.

“Many of the ceramic workers did not return the ques-
tionaires which were sent to them, and for this reason they
failed to receive the awards which they deserved and which
would have been given to them otherwise.

“People are showing a wonderful interest in this section and
our sales are fine. I wish that I could have had a year to pre-
pare for this show, and for the workers to prepare, we could have
done a great work. But even now this section is the talk of the
whole Exposition, and people come many times, which shows a
real interest.”

TWIN CITY KERAMIC CLUB

aye Twin City Keramic Club was organized in April,

1912, with thirteen charter members. The first presi-
dent was Miss Elizabeth Hood of St. Paul, who remained in
office until her death in the spring of 1914. She was succeeded
by Miss M. Etta Beede, the present president.

From the first, the Club has worked for a high standard
and to this end has each year organized a class for the study
of design, the first year under Miss Louise Pinckney, and the
last two years under Miss Mary M. Cheney of the Minneapolis
School of Fine Arts. The results of this study have been
most gratifying, a steady advance in excellence being shown
at each succeeding exhibition.

The Club gave its first exhibition to the public in the win-
ter of 1918 at the Handicraft Guild, Minneapolis, and made
a most creditable showing. In response to an invitation
from the Denver Club of Colorado, a portion of this exhibit
was shipped to Denver and shown with that of the Denver
Club. Later, in December, the entire exhibit was again shown
in St. Paul on the Roof Garden of the St. Paul Hotel and
excited much enthusiasm and sincere praise.

In the fall of 1914, the Club again exhibited in Minnea-
polis, and returned the courtesy of an invitation to the Denver
Club, which responded with a collection from its members.
Edwin M. Dawes and Gertrude J. Barnes, local artists, con-
tributed pictures in oil and water color, greatly adding to the
interest and effect of the exhibit, which was logically arranged,
the table services being shown on white and the ornamental
pieces on suitable and harmonious backgrounds. To help
in the expenses of exhibitions, the members each donate china
to the amount of $2.00 and the money thus obtained is turned
into the Treasury.

Besides the regular exhibitions, the Club has exhibited
each year under the auspices of the State Art Society. This
Society, under the direction of Maurice I. Flagg, has done
much to encourage and stimulate interest in all departments
of art. The exhibitions are competitive, and are judged by
such well-known artists as Lorado Taft, Ralph Clarkson and
Miss Bessie Bennett of the Chicago Art Institute. It is largely
due to the interest of Miss Bennett that keramic art has been
given its full share of recognition, and she has been most com-
plimentary and encouraging to the Club.

In 1913, Miss Beede and Miss Huntington carried off
first and second honors, there being but the one prize offered.
In 1914, the number of prizes was increased and Mrs. Alcott,
Miss Newman, Miss Carlyle and Mrs. Brown all received
prizes. In the fall, at a special exhibition, Miss White, Miss
Beede, Miss Newman, Miss Huntington, Miss Mowbray and
Mrs. Paist carried off the honors. The prize winners were
then invited to exhibit with the Atlan Club of Chicago, and
again came off with flying colors, Miss White, Miss Hunting-
ton and Miss Newman being the prize winners.

The Minnesota State Fair, one of the largest and most
important State Fairs in the country, has also done much to
encourage china decorators, appropriating several hundred
dollars annually to this department.

Each year, the Club entertains at a luncheon some guest
of honor who has directly or indirectly contributed to the suc-

60 KERAMIC STUDIO

Miss Huntington Miss Mowbray
Miss Newman Mrs. Alcott Miss Beede

Miss Newman

cess of the Club. The first year, Miss Bennett of Chicago
was the honor guest and gave an entertaining and instructive
heart-to-heart talk to the Club. Last winter, the Club en-
tertained as its guest Mrs. Ruth Wilson Tice, a pioneer worker
in keramics, and organizer and President of the first Keramic
Club of Minneapolis. Mrs. Tice is one of a small group of
women who with Miss Louise McLaughlin really founded what
is now the Rookwood Pottery of Cincinnati, and her long ex-
perience in the field of keramic art, and her interest in the
work locally combined to make her talk of special interest.

Last winter, the Club organized a class in design for stu-
dents, using Mrs. Paist’s course in design, as published in
Keramic Studio, each member of the Club taking her turn at
criticizing the work of the class. This proved so successful
that it will be repeated next year, arranging second year work
for last year’s students. In this way, the Club not only en-
couraged beginners, but it was found an excellent way of earn-
ing money for the Club.

The Club at present has a membership of fifteen, and
hopes to add a number of new members, both active and as-
sociate, this coming year. The winter exhibition is already
planned and each member is expected to contribute a poster
for window display. With an uncompromising attitude tow-
wards a high standard, and a genius for hard work, as demon-
strated by its members, the Club hopes to win for itself a per-
manent place in the department of art to which it is dedicated.

Miss Huntington Miss Newman Mrs. Paist
Miss Tupper Mrs. Patst

Miss Carlyle Mrs. Brown Mrs. Bell Miss Beede

Miss Mowbray Miss Beede Miss Mewbray Miss Beede
Miss Huntington

Mrs. Sandy Mrs. Coleman Miss Newman Miss Carlyle

Miss White Mrs. Coleman Miss Mowbray

TWIN CITY KERAMIC CLUB

Mrs. Newman

ext

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KERAMIC STUDIO

Miss Mowbray

MISS WHITE
The bowl was awarded the Atlan Prize at the Chicago Art Institute, October, 1914.

TWIN CITY KERAMIC CLUB

Mrs. Alcott

Miss Beede

Mrs Bell

Miss Mowbray

62 KERAMIC STUDIO

FULL SIZE SECTION OF PLATE—FRANCES E. NEWMAN

FULL SIZE SECTION OF PLATE—MRS. ARCH COLEMAN

ONE-SIXTH SECTION OUTSIDE DECORATION

SATSUMA BOWL (Supplement)
Henrietta Barclay Paist

ARREN O’HARA’S soft enamels, Lavender, Dark Blue,
Violet, Dull Yellow, Neutral Green, Green No. 2. Trace
the design and outline the flowers, leaves and stems with Min-
eral Black. Lay the gold lines with half and half Roman and
Unfluxed Gold. After firing, go over the lines and put in dots.

Dry and float in enamels as follows:
For inside of bowl, flowers, Lavender; centers, Dull
Yellow; leaves, bands and stems, Neutral Green. Out-

ONE-SIXTH SECTION INSIDE DECORATION

Vy QU
wy, Vv
DW
ZING |e

ONE-SIXTH SECTION INSIDE DECORATION

side of bowl, flowers, Lavender deepened with Violet and
Dark Blue; centers, Dull Yellow and leaves, bands and
stems Green No. 2. If, after firing the enamels are not satis-
factory, they may be floated in again for a third fire. The
Neutral Green is a hard enamel and will need the addition
of a little flux, not over 1-10th.

TWIN CITY KERAMIC CLUB

BOWL AND PLATE—HENRIETTA BARCLAY PAIST
TWIN CITY KERAMIC CLUB
SEPTEMBER 1915 COPYRIGHT 1915
SUPPLEMENT TO KERAMIC STUDIO PUB. CO.
KERAMIC STUDIO SYRACUSE, N. Y.

KERAMIC STUDIO 63

PLATE, MOUNTAIN ASH BERRIES—MRS. ARCH COLEMAN

Berries, Red Bronze. Leaves and bands, Green Gold. Satsuma background.

PLATE DESIGN—FRANCES E. NEWMAN

Back of design Satsuma tint. Berries Red Bronze. Leaves and bands Green Gold

TWIN CITY KERAMIC CLUB

64 KERAMIC STUDIO

Band above narrow white band is also Green Gold. Center
of flower Mason’s Yellow Red, not too strong.

FULL SIZE SECTION OF PLATE—ORA VALETTA WHITE (Page 72)

i
im x

FERNERY DESIGN, MORNING GLORY—F. E. NEWMAN

Bie tone dark Grey Blue. Flower and buds dull
pink, back of design Dark Grey. Large space between
the units pale Grey.

CHOCOLATE POT, VIOLET MOTIF—M. ETTA BEEDE SATSUMA CREAMER, NASTURTIUM—MRS. COLEMAN

UTLINE with Black. Lightest grey is pale tint of Rus- LOWER petals and buds Yellow enamel shaded darker

sian Green, middle tone is 2 Mason’s Grey Green toward center. Figures in center of flower, Cameo

+ Ivory Glaze and a very little Imperial Ivory. Dry dust Pink. Leaves, Grey Green, darken spots by adding Brown
these. Stems and paths following from them are Green Gold. Green. Background Satsuma tint. Gold bands and stems.

TWIN CITY KERAMIC CLUB

KERAMIC STUDIO

BOWL

NASTURTIUMS—ORA VALETTA WHITE

TWIN CITY KERAMIC CLUB

(Treatment page 68)

66 _ KERAMIC STUDIO

BELLEEK BOWL, WILD GRAPE MOTIF—L. A. MOWBRAY

UTLINE design in Black. Paint large background

leaf forms with Green Gold and outer band with Roman

Gold. Oil background panel and dust with Neutral Yellow.

Grapes, equal parts of Amethyst and Azure Blue. Leaves M. EITTA BEEDE
equal parts of Turquoise Blue and Florentine No. 12.

TEA TILE—MRS. R. K. ALCOTT

Two shades of Mason’s Brown Green. The dark background, Brown Green dusted; leaves and stems, Brown Green padded.
Flowers and edge of tile, Ivory Glaze dusted.

TWIN CITY KERAMIC CLUB

KERAMIC STUDIO

PLATE, MOUNTAIN ASH (Page 69)
Florence A. Huntington

eae T entire plate with neutral ground made with +}
Warm Grey, ¢ Brown Green, + Grey for Flesh and
z Brown 4 or 17. After this is fired trace on design with
outlining Black and fire. Then paint leaves with 4 Grey
Green, + Brown Green and + Olive Green. Paint berries
Yellow Red and touch up outlines.

BIRD ON BRANCH (Page 69)
Florence A. Huntington

EEPEST values of bird are Dark Blue, middle values

are ? Grey Blue and + Dark Blue. The breast is 4

Coffee Brown, 4 Ivory Glaze, leaves are Water Lily Green

and branch is Coffee Brown. All colors are dusted on and

may or may not be outlined with + Banding Blue and 2
Copenhagen Grey.

_ SATSUMA BOWL AND PLATE—M. ETTA BEEDE

HERE are three units in the outside of the bowl and six

in the inside border. Outline design in Black. The
flower is Dull Yellow toned with a very little Deep Purple to
give it a warm cast. Center of flower soft shade of lavender.
Leaves, Grey Green enamel, white with Lacroix Apple Green,
toned with Deep Purple and Dresden Brunswick Black. Upper

panels Green, also spot under center of large flower. Dark
grey panels are O’Hara Rouen Blue. Black in design is gold.
On the outside of bowl at the top about a half inch down there
is a band of gold about a quarter of an inch wide outlined with
black. Satsuma tint on outside, deeper tint from gold band
down to gold on the inside.

TWIN CITY KERAMIC CLUB

68 KERAMIC STUDIO

I ||

PLANT JAR

Frances BH. Newman

ARKEST tone Green Bronze, next darkest tone Orange
Lustre padded on thin, and the bands between units
same. All back of design and paths are Green Gold. Large
white spaces Orange Lustre very thin and padded very light.
Second Fire—Darken lustre on flowers and spaces.

VASE, JONQUIL DESIGN
Mrs. Coleman
LOWER, Warm Grey enamel. Leaves and stems, Grey
VASE, JONQUIL DESIGN—MRS. COLEMAN Green enamel. Satsuma background. Gold bands.

TWIN CITY KERAMIC CLUB

KERAMIC STUDIO

BIRD ON BRANCH—FLORENCE A. HUNTINGTON
(Treatment page 67)

Eftontingtan

PLATE, MOUNTAIN ASH—FLORENCE A. HUNTINGTON

TWIN CITY KERAMIC CLUB

FULL
SIZE
SECTION
AND

(Treatment page 67)

70 KERAMIC STUDIO

PLATE, NARCISSUS—ORA VALETTA WHITE

Background of border Yellow Brown and a very little Brown Green tinted thin. Flowers, White Gold. Leaves Green Gold
Stems and inner and outer bands, Antique Green Gold. No outlines in black.

ACID ETCHED PLATE, ROSE HIP MOTIF—L. A. MOWBRAY

Etch the path around the design with acid, then paint path, handles, outer panel and outer edge with Roman Gold,
the leaves with Green Gold, the rose hips with Red Gold and panel and inside lines with White Gold.

TWIN CITY KERAMIC CLUB

KERAMIC STUDIO

SMALL FLOWER UNIT
Florence A Huntington

HE flowers are oiled and dusted with 3 Ivory Glaze,

+ Yellow Brown, the centers are Grey Blue and darkest

spots Blue Violet. The leaves and stems are Grey Green.

The ground is Neutral Yellow. This design may be carried

out in Gold using Roman for flowers, Red Bronze for centers
and Green Gold for leaves and stems.

MORNING GLORY MOTIF (Page 73)
Florence A. Huntington

UST leaves and stems with Water Lily Green, the darker
negative spots and veins in leaves with 4 Water
Green No. 1 and 4 Grey Blue, the light negative spots are
dusted with Mode. The morning glories are two values of
Wistaria enamel with Yellow Brown in the centers. There
are no outlines and the enamel is floated on rather thin.

TILE, SNAP DRAGON—ORA VALETTA WHITE

Flowers, very pale Neutral Yellow. Leaves, greyish Green.

Background, deeper greyish Green. All out-lines in Black.

TWIN CITY KERAMIC CLUB

KERAMIC STUDIO

NSS LDCS LTA SPOR at Ata a Se te

LUSTRE VASE—TULIP MOTIF

L. A. Mowbray

UTLINE design with Black and fire. Tint upper por-
tion of vase with Yellow Brown Lustre, the lower por-

tion with same lustre very light.

Third Fire—Paint flower

portion with Roman Gold, the veins, stems and panel por-
tions with Green Gold Bronze. The rest of the design with
Green Gold. Fourth Fire—Retouch gold and outline.

LOTUS DESIGN FOR SATSUMA JARDINIERE
Mrs. Arch Coleman

ANDS at top and bottom of jar and stems, outer leaves
and figures between flowers in dark blue enamel. Leaves
around flower and two center leaves blue enamel of lighter
tone. Flower petals, blue enamel of lightest tone. Light
grey background padded on with a darker shade of grey for
wide band at top.

BOWL, NASTURTIUMS (Page 65)
Ora Valetta White

LACK outlines. Wide band, French Grey and neutral

Yellow. Lower part, thin tint of French Grey. Flow-

ers, three lower petals Yellow Red, three upper petals same

shade very pale. Leaves, stems and upper band, greyish

Green, light. Leaves on band for inside Neutral Yellow and
French Grey. Band connecting medallions, Black.

TWIN CITY KERAMIC CLUB

KERAMIC STUDIO 73

ENAMEL DESIGN FOR COUPE CHOP PLATE—EMILY HARTWELL TUPPER

ahs keep a harmony between the design itself and its treat- black but do not separate the different enamels in the same
ment, execute it in three values of blue enamel. This petal by a black line. Finish the plate with a black edge as

will resemble some of the exquisite pieces of Chinese porcelain shown in the design.

which we all so greatly admire. Outline the entire design in

MORNING GLORY MOTIF—FLORENCE A. HUNTINGTON (Treatment page 71)

TWIN CITY KERAMIC CLUB

74 KERAMIC STUDIO

Mrs. Arch Coleman

Miss Newman
Miss Huntington Miss Beede

Miss White Miss Beede Miss White

Miss Huntington

TWIN CITY KERAMIC CLUB

PLATE, ORANGE BLOSSOM MOTIF (Color Supplement)
Mrs. F. C. McGaughy

pant band with Apple Green and little Lemon Yellow.
Shadows of flowers Lemon Yellow and Violet No. 1.
Centers, Lemon Yellow, Yellow Brown and Brown Green.
Leaves, Apple, Olive, Shading and Dark Green. Shadow,
leaves and lines outside of wide band in Copenhagen Blue.
Narrow lines in White Gold. Retouch in same colors.

| rf
SHOP NOTE

Mr. W. Bleesing, for many years connected with the firm
of Burley & Tyrrell Co., has recently accepted a position with
The Geo. H. Bowman Company of Cleveland, having charge of
their Chicago Office.

ee
ANSWERS TO CORRESPONDENTS

EH. M. S—I would like to ask ij one can decorate with china colors and fire
in Wilkie kiln, ground glass electric light shades.

It is necessary to use very highly fluxed colors that come specially prepared
for glass.

It can be fired in a Wilkie kiln, but is very hard to fire. It is fired until
you just begin to see color in the kiln and then the door should be opened.

E. C.S—Will you please tell me what to do with green, white and unfluxed
gold that becomes too oily. I do not wse much and it becomes dry, and after work-
ing it wp several times with turpentine it seems to form an oil, and when Gold is
applied it jorms spols, etc.

You are probably not using a good grade of turpentine. Try using com-
pound lavender oil, or lavender mixed with the best grade of alcohol.

When using gold, mix up only as much as you are going to use each time
instead of rubbing up the entire box. This will also prevent it from becoming
too oily.

F. C.—I have been firing Haviland china with only a gold band arownd the

edge. Several of the pieces have fired out a light brown, other pieces in the kiln
came out O. K. Will you kindly tell me the cause? It seems to always be in the
second fire.

The trouble may be caused by smoke in the kiln, or if your kiln is a gas
kiln, it may be caused by dampness.

J. G—If a crack should occur in the tron firing pot of a Wilkie kiln is
there a remedy for it that will prolong its usefulness? -

My firing pot has a bulge on the side toward the bottom, a small one, perhaps
three inches square; is it a danger spol that will have to be watched.

There is no remedy, but it can be used for some time aiter it is cracked.
When it becomes too badly cracked a new pot can be substituted.

No, the bulge will not matter.

A.W. H.—I have found difficulty in firing a soft glaze faience ware with
enamel designs. The ware crackles when fired hard enough to hold enamels. Is
there any way to overcome the crackles or are they characteristic of this ware?

A faience glaze is very liable to crease and it is not surprising that the
refiring of the ware in your kiln is developing crackles. Ther ies no way to
overcome that. If the piece is for ornamental purposes, not for use, hold-
ing water, etc., this crackle may not be objectionable.

er
FROM A SUBSCRIBER’S APPRECIATIVE LETTER.

“The magazine is such a stimulus and education to us, In a quiet way,
that we are scarcely conscious of it until we meet with some one who is try-
ing to get along without it, and then we see wherein we have grown away
from them and have been imbibing new ideas and taking on new methods
of decorating.”

K. EK. CHERRY
CHINA COLORS

TRY THE FOLLOWING ENAMELS
WHICH ARE BECOMING VERY POPULAR

Special White 1lc Peach Pink 15e
Jasmine Yellow 15¢ Warmest Pink 15¢
Naples Yellow 15¢ Pompeian Red 15¢
Jersey Cream 15¢ Azure Blue 18¢
Satsuma 15¢ Yale Blue 18¢
Goldenrod 15¢ Arabian Blue 18¢
Warm Grey E 15¢ Egyptian Blue 15e
Silver Grey 15e Swiss Blue 15¢
Grey Violet 18¢ Celtic Green 15¢
Wistaria 20c Grass Green 15¢
Amethyst 25¢ Florentine No. 1 15¢

SEND FOR COMPLETE PRICE LIST

including enamels and revised list of standard and dusting colors

THE ROBINEAU POTTERY

SYRACUSE, N. Y.

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Prenat. rarest

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re _ . PLATE. ORANGE BLOSSOM MOTIF—mRs. F. Cc. MCGAUGHY

t- . SECOND PRIZE IN BLAIR COMPETITION
) SS SserTereer 1915 a : COPYRIGHT 1915
SUPPLEMENT TO : . ek KERAMIC STUDIO PUB. co.
is x KERAMIC STUDIO. : SYRACUSE, N.Y.
Jer .© ss , ‘

GIFT BOOKS

FOR

CHINA Bias

Size
of little el Fully
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Book
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11x14 trated
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41 Inserts

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munupresrCpsmnmaresen a! | (O)
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Forty pages of unique designs in black and white for Pepper and Salts,
Celery Dips, Toilet Sets, Bon-Bons, Bar Pins, Hat Pins, Tea Caddies, Small
Pitchers, Ferneries, Pin Trays, Jewel Boxes, Mugs, Mustard Pots, Small
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lions, Buckles, Almond Dishes, Biscuit Jars, Ramiquin, Taleum Shakers, Cold
Cream Boxes, Belt and Lace Pins, Small Tea Sets, Tea Jars, Nut Bowls,
Candlesticks, Rose Jars, Dresser Sets, etc., etc.

Price $2.50 post-paid

With one year subscription to Keramic Studio $6.00

Book of Cups and Saucers

Published in one volume of 26 pages, it contains the choicest designs pub-
lished in back numbers of KERAMIC STUDIO—many of which are now
entirely out of print ; and are excellent examples of America’s most famous
decorators of china. The group of six designs for Cups and Saucers in Color
by Kathryn E. Cherry, which form the frontispiece, is a valuable feature as
each design may be adapted to an entire set of China.

Price $1.50 post-paid

PROMPT DELIVERY
With one year’s subscription to Keramic Studio $5.00

SEND FOR COMPLETE LIST OF BOOKS

Good goods and good service
ABBOTT & gO. 119-121 North Wabash Ave., Chicago

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g Flower Painting :

On Porcelain,

The Class Room Books

The Art of Teaching China Decoration......$3.00 postpaid
Flower Painting on Porcelain........................ 3.00% % se
Figure Painting on Porcelain and Firing... 3.00 “
The Conventional Decoration of Porcelain

SAC: GlASGs Bom. Toot cadet Ye, eee eee 3.00 “

Book of

Cups » Saucers

COPYRIGHTED 1913
KERAMIC STUDIO PUBLISHING GO.
SYRACUSE, NEW YORK

Keramic Studio Publishing Co., Syracuse, N. Y.

Keramic Studio. Books

Each complete i in one volume: Postpaid.

Grand Fen-Ceramics

~ The Fruit Book.

The Rose Book

me Art of Teaching China Dederation: Class Room

1
Flower Painting on Porcelain. Class Room No. 2...
Higute Painting on Porcelain and Firing. Class
oom No. 3
Conventional’ Decoration of Pottery and Porcelain:
Class-Room' NO. 4.322.655 ge apie Sooo eae aes
Book of Cupsand Savceksjys. idee nie onan em
Book of Little Things to Make

SPECIAL COMBINATION PRICES

One Book and Subscription to Keramic Studio...
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Three Books ordered together 8.00
Four Books ordered together........: JesieE Neve ota tetera! M “10.50
Seven Books ordered together. .... ve - 18.50
Eight Books, including ‘‘Book of Cups and. Saucers” 19,50
The Nine Books Complete

KERAMIC STUDIO MAGAZINE, $4.00 PER YEAR

* <4 i 4 a ah d y .

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ode” oleae: + he PA ree oe ae ts Oe 7 Be yd
a Fi Y , ; es = Skee 5 et *

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CONTRIBUTORS

eo ae

JESSIE M. BARD
MARY L. BERRY
FAWCETT SCHOOL OF

INDUSTRIAL ART
ALBERT W. HECKMAN
DORA V. McCREA
EULA L. McELHINNY
DORRIS DAWN MILLS
IDA UPTON PAINE
LEAH H. RODMAN
RUTH M. RUCK
ALICE B. SHARRARD
MARIE WHITE

eas

te cS
AMONTALY MAGAZINE FOR THE POTTER AND DECORATOR:

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF OCTOBER, 1915

SS 3 SSSS———

% Page
Editorial 75
Fawcett School of Industrial Art, Newark, N. J. : 76-80
Plate Border Dorris Dawn Mills 80
Cup and Saucer Dorris Dawn Mills 8I
Orange Bowl Albert W. Heckman 8I
Designs for Small Pieces Eula L. McElhinny 82
Plates and Borders a Eula L. McEthinny 83
Tea Set (Color Supplement) Leah H. Rodman 84
Saucer and Bread and Butter Plate Leah H. Rodman 5; 84
Vegetable Dish Leah H. Rodman 85
Platters Leah H. Rodman 86
Plates for Dinner Set - Leah H. Rodman 87
Orange Plate Albert W. Heckman 88
Mississippi Wild Flower Eula L. McElhinny 89
Answers to Correspondents 89

NATURALISTIC SUPPLEMENT 3

Japanese Cranes (Color Supplement) Marie White I
Jam Jar Dora V. McCrea if
Marguerite Studies Ida Upton Paine 2
Borders with Marguerite Motif Ida Upton Paine 2
Smalf Pieces, Marguerite Motif Ida Upton Paine 3
Rattlesnake Weed Albert W. Heckman 3
Devil’s Paint Brush Mary L. Berry 4
Plant Analysis, Larkspur Mary L. Berry 5
Dandelion Studies Ruth M. Ruck 6-7
Rose Bowls Alice B. Sharrard 8

THE OLD RELIABLE @735 FITCH KILNS

The thousands of these Kilns in use testify to
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

The only fuels which give perfect results in *
Glaze and Color Tone

No. 2 Sise 14x $2 in.........530.00 No. f Size 10 x {2 in............. $15.00

{Gas Kin 2 ices

No. 3. Size 16x J9 in......... 40.00 No.2 Size 16 x $2 tien: 20.00
- Ghia thos in Aiattea ac eee ete tye ae 25.00
WRITE FOR DISCOUNTS. No. 4 Size 18 x 26 in............. 50.00

STEARNS, FITCH & CO., : SPRINGFIELD, OHIO

SYRACUSE, NEW YORK

October 1915

gf publish in this number the cup and
aa saucer and plate of the same desizn
Pah as the supplement. bowl of the Au-
gust issue by Dorris Dawn Mills.
They may be executed in the same
colors as the supplement, although
another color treatment is given.
In the original there was a touch of
orange yellow at the center of the
flower which was not shown in the

color reproduction.

We also give this month photographs of work done at the
Fawcett School of Industrial Art under the direction of Miss
Maud M. Mason, who has been teaching there for three years.
The work was exhibited recently in New York and Mr. Perry
of Pratt Institute considered the exhibition ‘a most remark-
able achievement.” The plaques illustrative of Folks Tale
and Nursery Rhymes are both unusual and effective.

Considering that the Fawcett School is the first indus-
trial school of the kind to give encouragement to china decor-
ation, and taking into account the large number of pieces
shown, the number of people represented and the fact that
the work was all original, though of course done under direc-
tion, the results are most encouraging.

* % %

We print a letter from Miss Laura B. Overly who has
taught last spring at the Free School of China Decoration at
Macy’s New York store. This free school is an innovation
which, it seems to us, might well be taken up by other stores
in the country, anyway by large shops dealing in china and
painting materials, to the advantage not only of the store
and teacher, but also of the china painting public in general.
The letter follows:

“T expect to be able to take up the class work again on
September 7th in the Art department of R. H. Macy.

The lessons are given free. The pupils buy their china
and materials, also have their firing done in the store. I am
engaged to give the lessons. This experience is very inter-
esting to me.

I must confess however that when I first heard of the
arrangements I was not pleased with the idea at all. It did
not seem just tome. I was in the class work only a few weeks
when I discovered that instead of ‘taking pupils from private
studios,’ it was creating a demand for the lessons and was
sending pupils to private studios.

I can safely say that 90% of the pupils who have taken
up the work are ‘beginners.’ It would give me great pleasure
to tell you, if it were possible, how interesting this work is, I
can only say that from the beginning to the end it is a joy.”

It seems evident to us that this scheme of free school
would be to the advantage of the dealer. The expense of
the teacher’s salary would be more than made up by the pro-
fits on materials sold, firmz, etc. Besides the great majority
of beginners who would join the school would undoubtedly
become regular customers of the firm.

We are not surprised chat Miss Overly found that the
Macy Free School did not injure the private studios, on the
contrary sent pupils to private studios. Such schools would
be primarily for beginners who, after they have mastered the
first elements, would complete their education in private stu-

dios. Their great advantage would be to give a start, an in-
terest in the work to a great many who may hesitate to take
it up when they have to face the heavy initial expense of pri-
vate tuition. If such schools were scattered in several big
stores in the country there is little doubt that they would in-
crease enormously the general interest in china decoration
to the great advantage of both dealers and teachers.
* * ok

Mrs. Filkins is getting ready for the press a book on china
painting which embodies her personal experience of twenty-
five years and the title of which is “The China Painter’s A B C,
A Beginner’s Primer’. Although it will contain information
for the advanced students and teachers, it will be primarily
for “those living in the country or small towns, away from the
service of the studios.”’ The book will sell for $1.

a * ok

All letters received so far from both subscribers and ad-
vertisers are strongly against the change in arrangement of
advertisements as suggested in last issue of Keramic Studio.
We expected that this would be the general feeling, but one
of our advertisers insisting, we thought that we would find
out definitely. Not a single letter has been received favoring
the change.

Here are two samples of the letters received:

FROM A SUBSCRIBER

“T have been a subscriber to your Magazine since its first
issue and would not know what to do without it. It is cer-
tainly an ever present help in time of (art) trouble. Don’t,
don’t, I beg of you, be induced to print advertisements in the
body of your Magazine. As fast as my subscriptions run out
for Magazines which have adopted this method, I do not re-
new. No one I know of likes it.” Mrs, S. B. H.

FROM AN ADVERTISER

“In reading your editorial, we notice that some people
are urging that you place advertisements in the reading mat-
ter of your Magazine.

“Tn our opimion this would detract from the beauty and
effectiveness of your Magazine, without giving any additional
advantage to the advertiser.” B. & Co.

ASN BE

The fear which everybody expressed at the beginning of
the war that there would be a great shortage of china for deco-
rating has not been justified so far. There is a sufficient sup-
ply in the market yet, some dealers have more, others less, but
shipments have been received by the importers for their cus-
tomers and there is no need of worry.

The tendency this fall will of course be toward the use of
French china, which is regularly imported, although shipments
are more or lessdelayed. No china, at present, is received from
Germany or Austria, although there are reports of heavy con-
signments waiting at Rotterdam. From samples received the
goods made in Germany seem to have suffered in the making,
they are not as clear and as nicely modeled as were samples
before the war. This condition may last for some time after
the war in all European countries, as so many of the best me-
chanics will have been killed or crippled.

As we said before, the best solution would be to have a
suitable white china made in this country. We understand
that tests are made of a ware produced in this country, which
seems to have quality and which the maker claims he can market
at a lower price than the imported wares.

KERAMIC STUDIO

Miss Langstrosh.
Miss Baldwin.

FAWCETT SCHOOL OF INDUSTRIAL ART, NEWARK, N, J.

HE Keramic Class is under the direction of Maud M.
Mason and all of its pupils study with great enthusiasm
and take much more pleasure and interest in their work for
having both designed and executed the decorations themselves,
with little assistance other than that of criticism.
The more ambitious pieces were done by pupils who have
worked for three years in this Saturday morning class.

r The first problem undertaken was a design for a tile, the
second one being a simple design for a plate, cup and saucer
that would have a freshness and charm of color, as well as good
arrangement.

There were many delightful sets executed which I regret
were not photographed.

The motif given for the large plate design was a bird and
flower of which we had many interesting interpretations.

Folk tales and fairy tales furnished motifs for the large
plaques or trays. All the pieces were carried out in enamels
used with the utmost freedom, being Mason’s Hard Enamel

Wirs. Prisley.
Bowl—Black Enamel, Oriental Turquoise, Orange Enamel.

Mrs. Williamson.
Mrs. Fritz.

Wiss Gouid.
Mrs. Williamson. Miss Hipple.

for the French china and Mason’s Regular Soft Enamels for
the Belleek pieces.

The results were most satisfactory and demonstrate the
fact that enamels can be used successfully by the veriest ama-
teurs if ordinary intelligence is applied in the handling of them.

These pieces presented a gay and brilliant effect—a far
ery from the greyed and subdued effects worked for some years
ago. Think of the time that we might have saved if we had
thought more of the fitness of the design and decoration of
these articles of common use.

Mrs. Williamson.

Placque—Motif from the Legend of Sleepy Hollow. Nan-
kin Blue, Canton Blue.

KERAMIC STUDIO

Mrs. Risley. Miss Weiss.

Plate Cup and Saucer on left—Oriental Turquoise, Vermillion, Black enamel.
Bowl—Oriental Turquoise, Black and Orange enamel.
Plate, Cup and Saucer on right—Nankin Blue, Light Green.

Wiiss Lillie Weiss. Josephine Liedtke. Mrs. Mulanphy. IVirs. Hammerschley.

FAWCETT SCHOOL OF INDUSTRIAL ART, NEWARK, N. J.

78 KERAMIC STUDIO

S
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3

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[Fs RN Dea \ °S
Man | a>

a, ai
sititrrarsmstitoes®

No. {. Miss Baldwin.

No. 5..; Mrs. Fritz.

SS;
ttl

No. 3. Mrs. Williamson. No. 6. Miss Hipple.

PLATES ILLUSTRATIVE OF FOLK TALES AND NURSERY RHYMES

No. 1—Polychrome Plate. No. 4—Polychrome Plate, Canton Blue predominating.
No. 2—Polychrome Plate “Little Boy Blue.” No. 5—Polychrome Plate.
No. 83—Black, Oriental Turquoise, Orange Relief Enamel. No. 6—Polychrome Plate, The Pied Piper of Hamlin.

FAWCETT SCHOOL OF INDUSTRIAL ART, NEWARK, N. J.

KERAMIC STUDIO

C. Malanaphy. Mrs. Hammerschley. Grace Masterson.

Bowl on left—Mixture Madder Red and Light Carmine, Blue Violet.
Center Bowl—Shadow Green, Emerald Green, Orange.
Bowl on right—Oriental Turquoise, Black, Light Carmine.

Josephine Liedtke. Hetty Weidig.

Bowl on left—Shadow Green, Oriental Turquoise, Orange.
Bowl on right—Golden Yellow, Dark Green, Rich Turquoise.

Mrs. Williamson. Miss Weiss. Mrs. Hammerschley.

Plate, Cup and Saucer on left—Madder Red, Light Carmine, Dark Blue.
Plate, Cup and Saucer in center—Nankin'Blue, Light Green, Golden Yellow.
Plate, Cup and Saucer on right—Crimson, White, Blue Violet, White.

FAWCETT SCHOOL OF INDUSTRIAL ART, NEWARK, N. J.

rhe,

80 KERAMIC STUDIO

LR,
PLATES—WMiiss Brickman and Miss Wilson. TEA SET—Miss Gould.
Plate on left—Brilliant Blue, Dark Green, Nile Green, Plate on right—Brilliant Blue, Rich Turquoise, Black,
Yellow, Rose and Crimson mixed, and Black hard enamels. Garden Yellow, hard enamels.
Plate, Cup and Saucer—Brilliant Blue and Rich Tur- Tea Set—Brilliant Blue, Dark Green, Medium Yellow,
quoise. Rose and Madder Red mixed, and Black enamel.

FAWCETT SCHOOL OF INDUSTRIAL ART, NEWARK, N. J.

PLATE BORDER—DORRIS DAWN MILLS (Treatment page 88)

KERAMIC STUDIO

CUP AND SAUCER—DORRTS DAWN MILLS

RACE design on and outline in India Ink. Tint all over Paint unit Moss Green with a touch of Albert Yellow and fire.

with Old Ivory, clean out design all but wide grey Retouch gold and paint bands between gold bands with the
band. Dark bands, dark spots in unit and outlines Gold. same mixture of Moss Green only lighter.

ORANGE BOWL—ALBERT W. HECKMAN

(Treatment page 88)

FOR

SMALL PIECES,

KERAMIC STUDIO

FROM MISSISSIPPI WILD FLOWERS—EULA L. McELHINNY

(Treatment page 89)

KERAMIC STUDIO

PLATES AND BORDERS, FROM MISSISSIPPI WILD FLOWERS—EULA L. McELHINNY

(Treatment page 84)

84 KERAMIC STUDIO

PLATES AND BORDERS (Page 83)
E. L. McElhinny

O. 1—Outline and darkest tones in Gold. Second Fire—
Oil grey bands and dust with Glaze for Green and paint
flowers with Yellow Lustre.

No. 2—Outline with Dark Grey and a little Banding Blue.
Second Fire—Oil leaves and stems and dust with Floren-
tine Green. Oil outer band and dust with 2 Pearl Grey, 1
Ivory Glaze and a very little Apple Green. Oil flowers and
dust with Glaze for Blue.

No. 3—Outline with Black. Dark background is Gold.
The light grey border is Light Green Lustre and the flowers
are Yellow Lustre.

No. 4—Outline with Black. Flowers are painted with
Deep Blue Green and a little Sea Green. Leaves and stems
and dark spacesin border are Shading Green, Banding Blue and

Dark Grey. Border is 2 parts Dark Grey,1 part Banding Blue.

No. 5—Outline and center of flowers with Dark Grey or
Gold. Second Fire—Oil all darkest tone and dust with 1 part
Bright Green, 2 parts Ivory Glaze. Oil lighter grey tone and
dust with equal parts Glaze for Green and Ivory Glaze. Flow-
ers are left white, paint the very slightest suggestion of color
over them with Dark Grey or Albert Yellow.

TEA SET (Supplement and pages 84-87)
Leah H. Rodman
IL black spaces on tea pot and the corresponding spaces
on rest of set and dust with Black and paint in the gold
spaces. Silver may be used instead of Black.
Second Fire—If the black is not a solid black it can either
be dusted again or painted over with Black. Retouch the Gold

BreaS + Butter

SAUCER AND BREAD AND BUTTER PLATE—LEAH H. RODMAN

Top oF Handle, , 4 Handle of Lid

: SO | Dh el
Vt Se

Top of Ape vt

TEA SET, IN GOLD AND SILVER—BY LEAH H. RODMAN

OCTOBER 1915 ; COPYRIGHT 1915
SUPPLEMENT TO KERAMIC STUDIO PUB. CO.
KERAMIC STUDIO \ SYRACUSE, N. Y.

KERAMIC STUDIO 85

VEGETABLE DISH—LEAH H. RODMAN (Treatment page 84)

KERAMIC STUDIO

(Pg ased yueur}v217)

NVIWdoad

‘H HVAT Sada lLlvid

KERAMIC STUDIO

PLATES FOR DINNER SET—LEAH H. RODMAN

88 KERAMIC STUDIO

PLATE BORDER (Page 80) ORANGE BOWL (Page 81)

Dorris Dawn Mills Albert W Heckman
RACE design on and outline in India Ink. Tint all over QO” in all the dark parts of the design and dust with
with Old Ivory. Clean’ out design all but wide Water Lily Green. Use Deep Ivory for the oranges

grey band. Dark bands, dark spots in unit and outline of and Coffee Brown for the outline around them.
flower Gold. Paint unit Moss Green with a touch of Albert This design looks well carried out in soft enamels on a
Yellow and fire. Retouch gold and paint band between gold soft glaze ware such as Satsuma or Belleek.
bands Moss Green with a touch of Albert Yellow, but have it
lighter than unit.

ORANGE PLATE—ALBERT W. HECKMAN

Oil in all the dark parts of the design and dust with Water Lily Green. For the oranges use Deep Ivory with an outline of
Coffee Brown: Use a bit of Yellow Red for the dot on the orange.

KERAMIC STUDIO

MISSISSIPPI WILD FLOWER

Eula L McElhinny

HE light flower is white shaded with Copenhagen Blue and

a little Yellow. Center is Albert Yellow. Calyx is Ap-

ple Green and Yellow. The dark flower is Banding Blue and
Violet for the light and a little Copenhagen Blue added for the
darker tone. The centers and calyx are Blood Red and a little
Violet. Leaves and stems are Apple Green, Albert Yellow for
the delicate tones and a little Violet added for the stronger
tones, and Shading Green and a little Dark Grey for the shading.

DESIGNS FOR SMALL PIECES (Page 82)
E. McElhinny

ARGE inside design—Outline and the dark spaces are

Gold. Second Fire—Oil leaves and stems and dust

with 2 parts Deep Ivory, 1 part Ivory Glaze, 1 part Pearl Grey.

Oil outer band and dust with equal parts Pearl Grey and Ivory

Glaze with a touch of Albert Yellow. Paint flowers with
Yellow Lustre.

Two small figures at the top—lIt is not necessary to out-
line but if preferred use Dark Grey and a little Black. Oil
leaves and dust with Florentine Green. Oil flowers and buds
and dust with Yellow for Dusting. Stems and bands are Gold.

Large figure in center and medallion at the left—Oil
the darkest tones and dust with Water Blue. Oil leaves and
stems and outer band of medallion and dust with Glaze for

Green. Oil the flowers and buds and dust with Grey Blue.

Figure at right of center—Outlines and dark part of buds
and leaves are Gold.

Second Fire—Oil the flowers and dust with 2 parts Cameo
and 1 part Peach Blossom. Oil stems and calyx of buds and
dust with equal parts Florentine Green and Ivory Glaze.

Hexagon figure at bottom—The outer dark band, dark
center in flowers and the outlines are Gold.

Second Fire—Oil the dark grey in center except the flowers
and the outer light band and dust with Bright Green, the oil
should be on very thin. Oil leaves and circular band and dust
with 2 part Glaze for Green and 1 part Pearl Grey. Paint
flowers with Yellow Lustre.

Border at left of hexagon design may be used for the bot-
tom of the box. The outline and darkest tones are Gold.
Stems and outside border are Bright Green. Buds of the
lustre and the grey tones the same as the leaves.

er
ANSWERS TO CORRESPONDENTS

L. M—Will you kindly tell me how much to charge for the firing, gold and
work on a hundred piece dinner set done in gold bands and initial, the china to
be furnished by the customer.

It is impossible to make a price as different localities receive differe
prices for firing, some people use more gold than others and some ¢eople value
their time more than others. Find out the price of firing the different pieces
from some one who does firing, (some firms have a price list for firmg). Value
your time at a certain price per day and you can tell how long it will take you
to do the work.

I. P. C—\—Can you dust enamel colors on the same as dusting colors?
2—Why does hard enamel chip when placed on hard china?

I—No you cannot.

2—Enamels are not very satisfactory on hard china, there is always a
risk of chipping. The glaze is too hard for the low heat at which it is fired
and does not soften enough in the firing to hold the enamels. Often the
trouble is because there is not enough flux in the enamel or too much oil has
been used.

A.M. P.—Will you kindly advise me the correct pieces contained in a din-
ner sel also correct size of the different plales jor same?

If you will write to some of the large dealers they could give you the in-
formation in regard to the set. Salad plates are 7% inches, service plates 9
inches, bread and butter, 6 inches, fish and tea plates 8 inches.

C. M—I am copying Aulich’s Pink Roses which has two American Beau-
ties in the background. Through some mistake in shading the center of the pink
roses I have used some deep Red Brown which does not at all harmonize with
Aulich’s Rosa. Is it possible for me to use any acid and remove this deep Red
Brown without in any way sacrificing the vase? I could deepen the roses and
change the design but would rather not if anything can be done to preserve the de!-
tcate pink: of the roses.

Yes you can take some hydrofluoric acid and take off the color. Put
some asphaltum over the parts not to be taken off and then brush the acid
over the color to be removed. Put it on with a brush and work quickly
washing it off with water as soon as the color is removed. If left on too
long it will remove the glaze. Be very careful not to get the acid on your
hands or to inhale the fumes as it is very strong.

1. M. D—What paints chip off, what is the cause? It was not applied
loo heavily. Tarts of a vase were chipped, can anything be done with it?
What causes unglazed spots?

3. What causes paint to scale?

4; What makes Blood Red look streaky at times?

5. Where can one get a list of iron and gold colors?
6
7

. Where is the line drawn between hard and soft glazed china?
. Could one get a list of soft glaze kinds and of the hard glaze?
can dusl in china be called?
8. Can matt colors be used on Seji ware?
is it meant only for Gold, Silver and Enamels?
9. Can matt colors be used on Satsuma ware? Can the painting colors
be used on it also white, yellow and green gold?
10. Hor should matt colors be fired? How is matt gold used?
1. The cause is usually because they are applied too heavy or you may
have used a color that had not enough flux in it, all of the standard colors

What

Can painting colors be used or

however are sufficiently fluxed. Color can be applied to the spots and re-
fired but it will probably show where it is patched. There is no other remedy.

2. Unglazed spots are caused by dampness in the kiln though they
may, have been in the ware. You did not notice them. ,

3. We do not understand this question as chipping and scaling are us-
ually applied to the same thing.

4. If the red has fired out of the color leaving it streaked it is over-fired.

5. We do not know of any such list. The iron colors are usually the
Reds,j Browns, etc. ~The Gold! colors are Ruby, Royal Purple, the best
grades of Violet, etc.

6. The hard and soft glazes depend on the material used in this manu-
facture, the soft glazes require a lower heat in firing.

KERAMIC STUDIO

7. There is not a list printed of this kind, you can usually tell the dif-
ference by looking at it, compare a piece of German china with the French.
The French china is hard and the German soft. Austrian, Satsuma and Seji
are soft.

8. Yes, matt and painting colors can be used on Seji but should be fluxed
in order to get a depth of color. Very few colors are satisfactory because
they do not show over the green of the glaze. That is the reason the gold
and enamels are more satisfactory on it.

9. No color can be dusted on Satsuma but it can be painted on it and
any gold can be used.

10. Matt colors require a light fire.
other gold.

Matt gold is used the same as any

Have You Tried It? What?

“Syracuse Outlining Ink”

the ink that really fires
black and can be used
with ordinary writing
pen or with brush if
preferred. If you
want a rich black for
painting purposes with-
out the disappointment
of its chipping off, TRY
THIS! 25c and 50c
post paid. Ask your
dealer for it..

“SYRACUSE”
OUTLINING INK

“Favorite” white china

“ : and Satsuma
Jessie Louise Clapp
510 McCarthy Block

No china catalogue
Syracuse, N. Y.

issued

Price list of K. E. Cherry’s Colors and Enamels and a catalogue of Cooy-
er’s Black Outline Designs sent on request.

Weber’s Sphinx Gold 65 cents per box, $7.20 per doz.
Sleeper’s Crucible Gold 65 cents per box, $7.20 per doz.
Add 2 cents for postage on each box of gold.

Try Me for China Painter's Supplies

JESSIE LOUISE CLAPP, 510 McCarthy Blk., SYRACUSE, N. Y.

Advertising copy for the November number of this magazine

should be in our hands the FIRST OF OCTOBER
KERAMIC STUDIO PUB. CO.

K. E. CHERRY
CHINA COLORS

The demand for Cherry colors is increas-
ing rapidly. The finely ground enamels
put up in small vials prove a big attrac-

tion. The dusting colors save you the

trouble of preparing special mixtures for
dusting. The painting colors areas good as any on the market and cheap
TRY THE FOLLOWING COLORS

PAINTING COLORS Vials DUSTING COLORS Vials ENAMELS 24 Vials
Ivory Giaze 12c Dove Grey 25¢ Naples Yellow 15c
Pearl Grey 18¢ Cameo 25¢ Jersey Cream 15c
Dark Grey (for Flesh) 22c Mode 30c Satsuma 15¢
Pink 22¢ Dusting Dark Blue 25c Silver Grey 15¢
Pompadour 15c Grey Blue 18¢ Wistaria 20c
Violet 30c¢ Glaze for Blue 18¢ Amethyst 25¢
Banding Blue 18c Glaze for Green 18c Warmest Pink 15c
Dark Blue 20c Water Green No.1 20c Pompeian Red 15c
Apple Green 12c Water Lily Green 20c Yale Blue 18¢
Shading Green 15c¢ Florentine Green 20c Egyptian Blue 15c
Yellow for Painting 10c Bright Green 18c Celtic Green 15c
Special Yellow 15¢ Deep Ivory 20c Grey Green 15¢

The Painting and Dusting colors are put up in full standard vials and
in half vials, the enamels only in half vials.

SEND FOR COMPLETE PRICE LIST

If your dealer does not carry the Cherry Colors
ask him to write to us for a supply.

THE ROBINEAU POTTERY

SYRACUSE, N. Y.

“Star Self-Centering and Dividing Banding Wheel

Wiz

SHOULD BE IN EVERY STUDIO

For quick accurate spacing and Banding this STAR
=) WHEEL easily ranks as the best money can buy.

~t Asa Labor and Vexation saving device for Banding,
Dividing and Centering China, for Conventional Work,
it has no equal.

It is hard to conceive how any Progressive Artist can well afford to be without one
of our Star Wheels, when you take into consideration the low price we ask for it.

We guarantee this wheel to meet with your approval in every respect as far as
workmanship, material and claims we make for it are concerned.

Ask your Dealer for a STAR WHEEL.
Pleased to mail catalogue to any address.

J. KAEFER MFG. CO., Hamilton, Ohio

If he can’t supply you write direct to us
Liberal discount to Dealers.

When writing to advertisers please mention this magazine

GIFT BOOKS

FOR

CHINA PAINTERS

5 y
Ly

a 1/0
28 3¢ BE De

Little Things|
To Make |

Petiiti tt iit eerie es

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Sed 90 2e De 3

Forty pages of unique designs in black and white for Pepper and Salts,
Celery Dips, Toilet Sets, Bon-Bons, Bar Pins, Hat Pins, Tea Caddies, Small
Pitchers, Ferneries, Pin Trays, Jewel Boxes, Mugs, Mustard Pots, Small
Bowls, Sugar Shakers, Ointment Boxes, Syrup Jugs, Pins, Buttons, Medal-
lions, Buckles, Almond Dishes, Biscuit Jars, Ramiquin, Talcum Shakers, Cold
Cream Boxes, Belt and Lace Pins, Small Tea Sets, Tea Jars, Nut Bowls,
Candlesticks, Rose Jars, Dresser Sets, etc., ete.

Price $2.50 post-paid

With one year subscription to Keramic Studio $6.00

Book of Cups and Saucers

Published in one volume of 26 pages, it contains the choicest designs pub-
lished in back numbers of KERAMIC STUDIO—many of which are now
entirely out of print ; and are excellent examples of America’s most famous
decorators of china. The group of six designs for Cups and Saucers in Color
by Kathryn E. Cherry, which form the frontispiece, 1s a valuable feature as
each design may be adapted to an entire set of China.

Price $1.50 post-paid

PROMPT DELIVERY
With one year’s subscription to Keramic Studio $5.00

SEND FOR COMPLETE LIST OF BOOKS

Ceeerptlang fer Cats

Good goods and good service
ABBOTT & CO., 119-121 North Wabash Ave., Chicago

No. 2

lal 8) Flower Painting
On Porcelain

“@ERAMIC STUDIO PUBLIS #0 PUBLISHING GO,

lala
Bg Reel og

The Class Room Books

No. 1 The Art of Teaching China Decoration......$3.00 postpaid
No. 2 Flower Painting on Porcelain........................ 300 “
No. 3 Figure Painting on Porcelain and Firing... 3.00 “
No. 4 The Conventional Decoration of Porcelain

BHC Gln yee ee eg ec. 3.00 Hig

Book of

Cups » Saucers

COP’
KERAMIC STUDIO PUBLISHING GO.
SYRACUSE, NEW YORK

Keramic Studio Publishing Co., Syracuse, N. Y.

TE
|
it
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{|
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n to Keramic Studio... 6.50.”
mi to Keramic Studio, ...../. 9.00.77
te Keramic Studio... 11.80

sabia dca cewenay deere y

‘-.

Books Complete... Gaeta Spe 21.

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-

;

| er Eo Re ALI VEL:

CONTRIBUTORS

tht te

MARY 1. BERRY

ESSIE FOLEY

MADGE 1. GIBBONS

ALBERT W. HECKMAN

J. K, HEISMANN

MAY 'B. HOELSCHER

NELLIE J. LEYMAN

STEWART E. MAYER

M. C: McCORMICK

MG. MYERS

LILLIAN MILLER

MADGE MUNCY

HANNAH B. OVERBECK
HENRIETTA BARCLAY PAIST
ALICE SEYMOUR

JEANETTE SLOCUMB

MRS: A. B. SMITH
MARGARET HUNTINGION WATKEYS
FLORENCE WYMAN WHITSON
CHARLES L. WIARD

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF NOVEMBER, 1915

—_— Oo aa

Page

Editorial 91
Cup and Saucer Madge L. Gibbons 92
Satsuma Box May B. Hoelscher 92
Dinner Plate M. C. McCormick 93
Dinner Set Lillian Miller 94-96
Fish Platter Henrietta Barclay Paist 97
Plate, Cosmos Motif ; Hannah B. Overbeck 98
Bowl, Plate, Cup and Saucer Jeannette Slocomb 99
Plate Stewart E. Mayer 500
Bowl and Plate Border, Orange Blossom Charles L. Wiard 10
Conventional Bowl Albert W. Heckman 101
Plate Madge Muncy * $02
Snow Bird Design for Chop Piate Henrietta Barclay Paist 103
Plate, Orange Blossom Motif Alice Seymour 104

NATURALISTIC SUPPLEMENT

Creamer, Cup and Saucer Essie Foley if
Chinese Arrangements of Flowers from Water Colors loaned by Mrs. A. B. Smith 2
Japanese Photographs of Iris and Chrysanthemums loaned by Mrs. A. B. Smith 3
Plate and Border, Apricots Nellie J. Leyman 4
Japanese Photographs of Double Cherry Blossoms foaned by Mrs. A. B. Smith 5
Love in the Mist Mary L. Berry 6
Piant Analysis Florence Wyman Whitson 6
Design for Plaque (Color Supplement) J. K. Heitsmann 6
Mountain Ash (Color Supplement) Margaret Huntington Watkeys 7
Answers to Correspondents 7
Japanese Photograph of Plum Blossom and Bird loaned by Mrs. A. B. Smith 7
8

Fruit Borders of Plates M. G. Myers

THE OLD RELIABLE !7-'9'5 FITCH KILNS

The thousands of these Kilns in use testify to
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

The only fuels which give perfect results in
Glaze and Color Tone

tit

No, 2 Size {4x {2 in.........$30.00 a No. § Size 10 x 12 im... $15.00
AS: Ags No.2 Size 16 x 12 in............. 20,00

i fan eth 40.00 : p o.
No. 3 Size 16x19 in Charcoal Kiln 4 sizes No.3 Size 16x 15in....... 25,00
WRITE FOR DISCOUNTS. No.4 Size 18 x 26 inten 50.00

STEARNS, FITCH & CO., : SPRINGFIELD, OHIO

SYRACUSE, NEW YORK

November 1915

SELLEN we added to the Magazine last
ln fall a naturalistic supplement to sat-
isfy the many naturalistic decorators
who complained that Keramic Studio
was too conventional, some people
claimed that what they called the con-
ventional fad was over and that dec-
orators would come back to the nat-
uralistic style. We, of course, never
a believed this; we know that the tide
has turned for good in favor of good, decorative design versus
senseless copies of nature, and that it is only a question of time
when the naturalistic heresy will disappear entirely. Evidences
that conventional decoration grows every day in favor multiply
everywhere, not only in important exhibitions, where natural-
istic work is absolutely refused, but in such exhibitions asare
given at State Fairs and they multiply also in our corres-
- pondence.

Our experiment of a naturalistic supplement has been in-
teresting in many ways. First it has stopped entirely the let-
ters which we received frequently before complaining that we
did not give any naturalistic designs and that decorators needed
these designs because buyers wanted them. It seems then that
our experiment has been successful, and we will continue this
supplement as long as there is a demand for it.

Another interesting result is this: Thinking that the nat-
uralistic decorators would be interested only in the naturalistic
supplement, we offered subscriptions for the supplement alone
at a reduced price, and we were surprised that in the whole
year only seventeen people took advantage of that offer, while
many old subscribers, who had not taken the Magazine for
years, have renewed their subscription for the whole Magazine.
conventional and all, although the majority were evidently nat-
uralistic decorators. This is a good sign. Gradually these
people will do what so many others have done already, they
will educate themselves and at the same time they will educate
the public to a better style of decoration.

Meanwhile we continue to receive numerous letters praising
the stand which Keramic Studio has always taken in favor of
conventional work. The following is a typical example:

:
Fy
8.
ie)

—— ae

“T should have written sooner in regard to the duplicate
copy of Keramic Studio, but our State Fair was about to open,
and as I was competing I thought I would await results. To
me the conventional work is far more attractive and suitable
for the decoration of china than is the naturalistic, and I am
confining my studies to that line alone, using Keramic Studio
as a teacher and guide. The exhibits are most helpful in sug-
gesting ideas and the lessons by Mrs. Paist are what I have
needed and what I have not been able to find heretofore. I try
to cull the best. For my reward I have three blue ribbons and
three red ribbons on six exhibits this year. Will the editor of
Keramic Studio accept my gratitude for the help to higher
things? Most sincerely, M.S. J.

In our last month’s editorial we spoke of the situation in
regard to the European china. We did not mention the Japa-
nese white china because we preferred to wait until we heard
from some shipments lately made by the Japanese, but it seems
evident that they are going to send us an excellent ware for

amateur decoration. The first shipments were of a poor grade
of china, full of imperfections, and which came sandy in firing,
a grade which is used very much in Japan and is very cheap,
but was not acceptable for American trade. This has evidently
been changed. We have seen here some very nice shapes of
that china and tests are absolutely satisfactory. Here is what
some of the outside dealers write to us:

“Regarding the Japanese china which we carry, I feel that
it is all it it is claimed to be. I have sold lots of it and have not
had a complaint. There was at first a lot on the market which
was not satisfactory, but it was very different in composition
from the new shipment, and, when seeking my orders, these
people claimed that they would keep up and, if possible, imp-
prove the quality. Their ‘selection’ is simply splendid, no
breakage, and nothing like their packing has ever come into
the store.

“T did not give my order last winter before I had picked
several samples at random, painted and fired them. I sub-
jected the pieces to as hard fire as they would ever have to stand
in my kiln, and they came out as fine as possible. The pinks
come out a lovely color and the gold looks as well as on French
china. The finish of their articles is much better than many
of the French articles, and it is way ahead of the German stuff.”

C. C. Filkins.

“This Jap china is a wonderful proposition and you may
mention the fact in your news columns that our German and
French friends will have to look to their laurels if they expect
to secure all of the future business. The price of the Jap mer-
chandise is less than the same items in French or German, and
on top of this we are daily receiving notifications of sharp ad-
vances from all the French and German manufacturers. You,
of course, appreciate the fact that the arrivals of German
china are going to be very scarce from now on. Many of the
German factories have been forced to shut down, as their goods
cannot go past Rotterdam, and what the ultimate result will be
is only conjecture.”

Geo. W Davis & Co,

However, there is a point about this Japanese china which
is not settled yet and on which another dealer calls our atten-
tion. The Japanese potteries are not as large as the European
potteries, wares are made in different small factories instead of
in a few large ones. As soon as the Japanese decorated china
comes again in demand, will the Japanese be able to furnish us
with the needed quantities of undecorated ware? This re-
mains to be seen. So far several orders have been only partly
filled, only a small proportion delivered.

We quote below from a circular sent out by the Keramic
Society of Greater New York:

“The Keramic Society of Greater New York has been ex-
ceedingly fortunate in securing Mr. Marshal Fry, of New York,
and Prof. Grace Cornell, of Teachers’ College, New York, as in-
structors for the coming season.

““As may be seen from the following, these courses should be
particularly helpful to all students—amateur or professional—
in the decoration of porcelain and in applied arts.

“Classes will meet on Wednesday afternoons from 1.30 to 4
o’clock in the Lecture Room of the American Museum of Nat-
ural History, Columbus Avenue and West 77th Street, New
York City.

“Prof. Cornell, who has taught design with great success at
Teachers’ College of Columbia University, New York, and
Pratt Institute, Brooklyn, and who has been the instructor for
the Society for two years, will give a course of ten lessons on

[Continued on page 103]

KERAMIC STUDIO

CUP AND SAUCER—MADGE L. GIBBONS

N outline is not necessary but if desired use Dark Grey
and a little Black. Oil leaves and handles and narrow

band on cup and dust with Florentine Green, oil the grey
band on saucer and at edge of cup and dust with 2 parts Dove
Grey and 1 part Ivory Glaze, oil the three small circles on cup
and dust with Mode, then the second smallest circle in large

flower and dust with Coffee Brown and for the next larger
size use 1 part Coffee Brown and 2 parts Ivory Glaze. The
large light space of flowers and the light part of circles on sau-
cers are Yellow for Dusting. Paint the small centers in all
with Yellow Red and Blood Red.

SATSUMA BOX—MAY B. HOELSCHER

UTLINE in Black. All bands are Gold. Small oblong Delft Blue Enamel, centers Red, small circle around centers

on cover in three sections Delft Blue Enamel.

squares Green Enamel.

Design
on base of box, center form Yellow Red Enamel and two small
Flowers are two shades of lighter

White, and leaves Green Enamels shaded. Small spaces back
of leaves, Dull Brown. To be applied on Satsuma.

KERAMIC STUDIO

DINNER PLATE—M. C. McCORMICK

(Treatment page 104)

94 KERAMIC STUDIO

ONE QUARTER SECTION OF {8 INCH PLATTER

DINNER SET, BORDERS

DINNER SET, CREAMER AND SUGAR BOWL—LILLIAN MILLER (Treatment page 96)

KERAMIC STUDIO 95

SRNR BIS Ne

ONE-QUARTER SECTION OF 10} INCH SERVICE PLATE

DINNER SET, CUP AND SAUCER—LILLIAN MILLER (Treatment page 96)

96 KERAMIC STUDIO

DINNER SET, PLATE—LILLIAN MILLER

OR the first fire outline leaves in Olive Green and flowers Green lighter than outline. The center of the flowers are Yel-
in Gold. Put bands in in Gold. low White, the petals are left white. The panels in back of
For the second fire tint center of plate a Light Green and _ flowers are in Blue. Retouch Gold.
background in border a shade darker. Paint leaves an Olive

KERAMIC STUDIO U7

FISH PLATTER—HENRIETTA BARCLAY PAIST

HE design is treated in monochrome, using Sea Green,
Grey Green and Dark Green. Follow the values as sug-
gested by the black and white study. Tint the band behind
the waves and fish with Sea Green. (A substitute can be made
with Apple Green and Grass Green.) Clean out the waves and
shade with the same mixture, adding a little Grey Green for the
darker values. Paint the fish with Grey Green and Dark Green,
and with a sharp wooden stick (an orange wood nail stick is

fine) clean out the markings for scales.

After firing paint in the lines suggesting seaweed with the
Grey Green and Dark Green, and shade the waves where neces-
sary. The scale markings are then covered with Silver or
White Gold and the fish outlined with Dark Green.

If the central unit of seaweed is used paint or dry dust with
the Sea Green mixture, to which add a little Grey Green. Out-
line with Silver or darker green color.

FULL SIZE SECTION BORDER AND CENTER OF FISH PLATTER

98 KERAMIC STUDIO

PLATE, COSMOS MOTIF—HANNAH B. OVERBECK

Entire design both flower forms and foliage in Gold, background in a delicate tint of Apple Green with a little Black. Or flower
forms in Rose; foliage in Grey Green; background in a delicate tint of Grey for Flesh
with a little Grey Green and Black.

Outline and bands are Gold.

KERAMIC STUDIO

SSS oS)
YAS

BOWL, PLATE, CUP AND SAUCER—JEANNETTE SLOCOMB

Second fire—Oil stems and leaves and dust with Florentine Green.
with Yellow Lustre or oiled and dusted with Glaze for Blue.

Flowers may be painted

100 KERAMIC STUDIO

PLATE—STEWART E. MAYER

Outline and bands are Green Gold. Second Fire—Oil leaves and dust with Florentine Green, the oil should be applied very
thin. Paint between stamens with Albert Yellow and the spot under them with Yellow Brown and a little Yellow Red.
Paint a thin wash of Albert Yellow and a little Dark Grey over flowers. Retouch Gold.

KERAMIC STUDIO

10)

BOWL! AND _PLATEY BORDER, ORANGE BLOSSOM MOTIF—CHARLES L. WIARD

UTLINE with Black. Oil leaves and the five dark spots
around the flower and dust with Florentine Green. Oil

the background in the border and dust with 2 parts Mode, 1
part Pearl Grey, 2 parts Ivory Glaze. Centers of flowers are
oiled and dusted with Yellow for Dusting. The shading in

buds is oiled and dusted with Cameo. The outline around the
border and the other bands are Gold. Oil the entire remaining
surface of china and dust with 2 parts Pearl Grey, 4 part
Apple Green, 1 part Ivory Glaze.

CONVENTIONAL BOWL—ALBERT W. HECKMAN

be carried out in Glaze for Blue background, Dove Grey for design which forms the panels, Mode flowers and buds,

with Cameo centers.

102

SNOW BIRD DESIGN FOR CHOP PLATE (Page 103)
Henrietta Barclay Paist
Tees the design and oil the clouds, dusting with Copen-
hagen Grey to which has been added one-third Neutral
Grey. Clean the spaces and oil the wings, tail, legs and band,
dusting with equal parts Copenhagen Blue and Neutral Grey.
The upper right hand portion of the wing nearest is dusted with
the cloud mixture. Shade the lower left portion of the wing
and the body with the light grey mixture, using brush strokes.
Fire and lay a delicate wash of Lemon Yellow over the body

KERAMIC STUDIO

_and lower left wing, touch up any portions necessary and out-
line the birds.
x
The firm of Jantzen-Railsback Company, dealers in fine
china, silverware and artists’ materials, of Los Angeles, have
transferred their location to 242-244-246 So. Broadway, next
door to the City Hall, 8rd Street, Los Angeles, Calif.

Mrs. Warren O’Hara writes from her New York Studio
that she has lately perfected eight new extra hard enamels for
use on French, German’and other hard glaze china.

PLATE—MADGE MUNCY

Oil all dark tones and dust with 2 parts Water Blue, 1 part Pearl Grey, 1 part Ivory Glaze.

Second Fire—Oil over entire plate

and dust with 1 part Pearl Grey, 1 part Ivory Glaze and a very little Deep Blue Green.
This can go over the design also.

KERAMIC STUDIO

- [Continued from page 91]

‘Art Structure’ which embraces the general principles of design,
such as line harmony, spacing, proportion, rhythm, dark and
light in two and more values; color in theory and practice; vari-
ations and original designs; exercises with brush and ink, char-
coal, colored crayons and water color. Those wishing to have
a thorough knowledge of the fundamental principles of design
—whether beginners or more advanced workers—will find this
course of great benefit.

“In addition to these lessons, Prof. Cornell will give two
mornings at the Metropolitan Museum of Art for the study of
exhibits connected with the class work.

“Mr. Fry, who has had wide experience in ceramics and the
applied arts, will give a course of fifteen lessons. The aim of
this class will be the study of overglaze ceramics, table linens
and kindred subjects, from the viewpoint of interior decoration.
One of the features of the course will be a series of illustrations,
or demonstrations of the Art of Table Decoration. Mr. Fry
has in preparation a number of schemes of linens and other
accessories which will be shown to illustrate the application of
fine art to Table Arrangement, and to stimulate the class to
original work along the same line. This course should prove

103

particularly helpful to those who have had previous experience
in decorating porcelain, and wish to continue the study still fur-
ther.

“Members of the Society may attend one or both classes
without extra charge.

“Those wishing to join the Society as active members may
be required to submit three pieces of original work, if requested,
to be passed upon by the Committee on Admissions. This does
not apply to those wishing to become Associate members. All
applications for membership should be made to Miss Lorena
Wilson, Chairman Committee on Admissions, 485 Westminster
Road, Brooklyn, New York.”

It is with great regret that we hear of the death of Mr.
Arthur H. Abbott of the art material firm of Abbott & Co., of
Chicago. Mr. Abbott was the founder of this, the oldest house
in that line in Chicago, and by his sterling qualities had built
up a business that has a world wide reputation for honorable
dealing. We are told that the business will be conducted as
usual.

SNOW BIRD DESIGN FOR CHOP PLATE—HENRIETTA BARCLAY PAIST

104

DINNER PLATE (Page 93)
M. C. McCormick

ARGE flower—The three outer sections of petals are a
brownish purple, made of equal parts of Brown 4 or 17

and Light Violet of Gold; add 1 White enamel. The section
next to the center, yellow made of Chinese Yellow with 1
enamel. Center section left white with dots of Capucine
Red (without enamel.) The flowers either side of large one
are also of Capucine Red painted on very delicately, shaded

KERAMIC STUDIO

a little darker toward the center, center green with the pollen
in yellow enamel dots. Flower in center of narrow portion of
band, dark blue, made of Dark Blue toned with a very little
Brunswick Black; add 1-8 enamel. Small flowers are Chinese
Yellow. Leaves are Apple Green toned with Deep Purple
and Brunswick Black; add 1-8 enamel. All lines and outer
edges Gold; band next to edge Dark Blue mixture without
the enamel.
All colors used are La Croix’s.

PLATE, ORANGE BLOSSOM MOTIF—ALICE

SEYMOUR

Border tint, Apple Green 2 parts, Pearl Grey 1 part, dry dusted. Flower forms left white, background of flower and
outer and inner bands are gold, leaf forms and dot in center middle band,',Yellow Green 2 parts,
Royal Green 1 part, dark center Albert Yellow. No outlines.

KERAMIC STUDIO

ave you| KeEACHERRY | Gwerything fox Clatiet
tried the CHINA COLORS REDUCTION SALE ON

new The demand for Cherry colors is increas- || almost everything running through November.
ing rapidly. The finely ground enamels Send in your orders.
Enamels ? put up oe Ae ae a big ae WHITE CHINA—order this too at reduction prices.
tion. e dusting colors save you the
trouble of preparing special mixtures for ABBOTT & CO., I i & CO., 119-121 North Wabash Ave., Chicago
dusting. The painting colors areas good as any on the market and cheap
TRY THE FOLLOWING COLORS
PAINTING COLORS ~- Vials DUSTING COLORS Vials ENAMELS 4% Vials
Ivory Glaze 12c Dove Grey 25c Naples Yellow 15c

Do prasiiees by Mail

Start with accurate lists of names we Peper te solidly.
4 Choose from the following or any others di

Apron Mfrs. Wealthy Men ay Pa er Mfrs.
Pearl Grey 18¢ Cameo 25¢e Jersey Cream 15c eee ee Mae Teo Mi Foundvies
Dark Grey (for Flesh) 22c Mode 30c Satsuma 15¢ Tin Can Mfrs. aoe Mfrs. Pub Hook Mfrs.
Pink 22c Dusting Dark Blue 25c Silver Grey 15c a Druggists See ep open Besther Dubter Bice,

Contra Hotels
Our complete Tuk 6 oF. mailing statistics on 7000 classes
of prospective customers for the asking. You need it.
Ross-Could, B16 Oltve Soret ae Louls.

Pompadour 15c Grey Blus 18c Wistaria 20c
Violet 30c Glaze for Biue 18c Amethyst 25¢
Banding Blue 18¢ Glaze for Green 18c¢ Warmest Pink 15c¢
Dark Blue 20c Water Green No.1 20c Pompeian Red 15c
Apple Green. 12c Water Lily Green 20c Yale Blue 18¢
Shading Green 15c Florentine Green 20c Egyptian Blue 15c
Yellow for Painting 10c Bright Green 18c Celtic Green 15c
Special Yellow 15¢ Deep ivory 20c Grey Green 15¢

The Painting and Dusting colors are put up in full standard vials and
in half vials, the enamels only in half vials.

SEND FOR COMPLETE PRICE LIST

If your dealer does not carry the Cherry Colors
ask him to write to us for a supply.

THE ROBINEAU POTTERY

SYRACUSE, N. Y.

HAVE YOU TRIED IT? WHAT?
“SYRACUSE OUTLINING INK”

the ink that really fires tte yp eo
black and can be used Siu) ae pekuereuncnen tees
with ordinary writing
pen or with brush if
preferred. If you
want a rich black for
painting purposes with-
out the disappointment
of its chipping off, TRY
= THIS! 25c and 50c

~ post paid. Ask your
“SYRACUSE” # dealer for it..

OUTLINING INK | “Favorite” white china
l lo : and Satsuma
Solty Beat No china catalogue
cuse, N.Y. * ’
He ieped The Class Room Books
Here is what one patron of Syracuse” Quilining ink says No. 1 The Art of Teaching China Decoration......$3.00 postpaid
ana ta Naser Ae bumpe alinrably( feculd sol watlaeeimont cs“ ®* || No. 2. Flower Painting on Porcelain... 3.00“
Very truly yours LENNOX S. FABER, Orange, New Jersey |! No. 3 Figure Painting on Porcelain and Firing... 3.00 “
Recut Lees Choy Belo eee eee ee pies No. 4 The Conventional Decoration of Porcelain P
Weber’s Sphinx Gold 65 cents per box, $7.20 per doz. ETC WG ETSI re EGR Tah Thy ae LS et aol 3.00
Sleeper’s Crucible Gold 65 cents per box, $7.20 per doz. a7 ,
Add 2 cents for postage on each box of gold. Four books for $10.50. Two books and subscription to Keramic Studio, $9.00
= s . s
Try Me for China Painter’s Supplies KERAMIC STUDIO PUBLISHING CO.,
JESSIE LOUISECLAPP, 516 McCarthy Blk., SYRACUSE, N. Y. SYRACUSE, N. Y.

Advertising copy for the December number of this magazine The 1915 Feb. and March numbers are out of print and if

} any of our dealers have these copies on hand please return
Soe wep pisenataeaec inst /OF NOVEMBER them at once. If the subscribers wish to sell these copies,

-KERAMIC STUDIO PUB. CO. please quote price post-paid to this office.
When writing to advertisers please mention this magazine

CHRISTMAS GIFTS TO THE
‘CHINA. PAINTER

Keramic. Studio Books.
Each ‘complete in one volume: Postpatd
ie 5.00

Grand Feu Ceramits,..).2004,0)03, 400.0: vant,

wivieeeees

The Rose Rook .4c4) ere 3.00" ic

“ ite of Teaching China Deeoration, Class Room i so {
pe ee Ss-8
Flower Painting on Porcelain. Class Room No: 23.00
Figure Pamting,:on Porcelain and Firing.” Class Shela
Room Now gs og aaa: os 3.00:
Conventional Decoration of Pottery a and Porcelain. Lio myes
Glass Room: No. 4.0320 A age AO
Book of Cupsand Saucers... RO ee ane

Book of Little ‘Things to Make.

SPECIAL COMBINATION PRICES:

One Book and Subscription to Keramic Studio...

Two Books. and Subscription to Keramic Studio...

Three Books and Subscription to Keramic Studio al “‘Qaene

Four Books and Subscription ‘to ‘Kerantle Shula 14,08

Two Books ordered together:..., i epee es By

Three Books ordered togetle.. Getter. ear A |

Four Books ordered together..... wis sett £10,509 9s

Seven Rooks ordered together”. Be ag Neen neg aren £.NLT

Eight Books, including “Book of ‘Cups. and Saucers” a 1) aa ees
<The ‘Nine: Books Complete 0 ,.1sc-40. anssuiteinee ee OO eS

Book of Cups and ‘Saticers and ve cubseation Se
io Keramic Stidio...)2.0 72002 ateey 5.0
Little Things to* Make’ and year's subscript ion to: SOR eee 3s
* Reramic Studios)... co. iano bag Cae de ob
Mrs, Filkin’s -new nol a iednneie aa Sierra Re
_ pages) post paid (Ready: about Nov. Ast)... ‘ib 00 << : Pes i

KERAMIC STUDIO MAGAZINE, ¥L00 PER YEAR”

SSS ae Pee ee Ree

Pee iC STUDIO

CONTRIBUTORS

MARY (Lo. BERRY
M.-L. BRIGHAM
MRS... LOUISE. ELEIS
lL. BE. HANSCOM
ALBERT: W. HECKMAN
NELLIE’ G. LEYMAN

=) RUTH: MacCOLrIN
WL... McCORMICK
Ee J. MceGAUGHY

DORRIS DAWN:MILLS

My G.- MYERS

HENRIETTA. BARCLAY PAIST
WIEL RANNELLS

EEMA S. RITTER

ADELAIDE ALSOP ROBINEAU
ALICE. B. SHARRARD

: YOUR, A

“a (PS A A 4

y \ ¥é , : (Op, o
va = ~~.

MONTHLY FIAGAZINE FOR THE POTTER AND DECORATOR

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF DECEMBER, 1915 _-

TET (BS —

es Page
Editorial $05
Design and Its Application to Porcelains (Concluded) Henrietta Barclay Paist 106
Vase, Wistaria : Elma S. Ritter Es {07
Newark Keramic Society : 108-113
Bowl and Borders M. L. Brigham 114
Designs from the Zinnia Ruth MacCollin 115
Rose Border and Plate Nellie G. Leyman $16
Covered Round Box Albert W. Heckman 117
Answers to Correspondents {

NATURALISTIC SUPPLEMENT

Plate, Cup and Saucer, Orange Blossom Motif Mrs. Louise Ellis i
Sugar Shaker Alice B. Sharrard 2
Rose Cup and Saucer L. E. Hanscom 2
Design for Plate’ Dorris Dawn Mills 2,
Buttercups M. G. Myers 3
Violet Cup and Saucer . M. C. McCormick 4
Drawing of Holly 4
Flower and Fruit Plate Borders M. G. Myers §
Peacock (Color Supplement) Wil Rannelfs - 6
Plant Analysis, Canary Vine Mary L. Berry 6
Drawing of Mistletoe 7
Peacock Tankard (Supplement) (re-printed by request) A. A. Robineau &
Plate, Orange Blossom Motif E. J. McGaughy 8

THE OLD RELIABLE #9 FITCH KILNS

The thousands of these Kilns in use testify to
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

The only fuels which give perfect results in ¢
Glaze and Color Tone

Size J0°x 12 ine... $15.00

No. 2 Size 14x J2 in......... $30.00 beret No. J
as sizes “ ‘
‘ ayer 40,00 % s No.2 Size 16 x 12 in............. 20.00
Ed meee ede Charcoal ila it SUS Te slcwice {cea gaeok Mea 25.00
WRITE FOR DISCOUNTS. No.4 Size 18 x 26 iteeeesncen 50.00

STEARNS, FITCH &CO., : SPRINGFIELD, OHIO

RECENT addition to the goodly
collection of literature on the sub-
ject of china painting is The China
Painter’s A. B. C., a Primer for
| Beginners by Mrs. C. C. Filkins of
Buffalo, profusely illustrated with
small flowers in color and many
illustrations in black and white.
The various steps in the art of china
painting are described in detail.
and should be of considerable value

The book is inexpensive
to the beginner.

It has been some time since we have received letters of
advice or suggestion from our subscribers. Can it be that we
have attained such a height of perfection that there remains
no criticism to make. That can hardly be the case though
we strive continually toward that ideal. Perhaps we have
all been too busy. But the Editor would appreciate any ideas
or suggestions for improving Keramic Studio and making it
more helpful and especially would she welcome a letter from
some of our clever letter writers that would give her the start-
ing point for an editorial. Tell us what you like and what you
do not like about Keramic Studio. Jt will be mutually helpful.

eo ok ok

We would like material for a “‘Beginner’s corner” in Ker-
amic Studio, little helpful articles or suggestions from those
who have had some experience in teaching. We would be
glad to pay for such articles and hope to start the department
in the January issue. To collect enough material to make
a good start, we will offer the following prizes for articles sent
in by December 6th:

First prize—Year’s subscription to Keramic Studio or
$4.00 in color studies.

Second prize— Nine months subscription to Keramic
Studio or $8.00 in color studies.

Third prize—six months subscription to Keramic Studio
or $2.00 in color studies.

All articles to be not over 600 words or under 200. Shorter
notes paid for in cash if accepted.

Designs for little things to make are much needed both
in conventional and naturalistic decoration, also sheets of
small motifs with sections of application. We have an over
supply of plate designs and arrangements for larger pieces,
also of studies of flowers, so do not wish contributions of that
nature at present. aes

We must apologize to many of the Ceramic Clubs for
keeping their illustrations of exhibits so long before publish-
ing in Keramic Studio. But the truth of the matter is that
we just cannot get them in any quicker. There is so much
material waiting to be used. But it really does not make a
great deal of difference as the illustrations are always interest-
ing whether delayed in showing or not.

A suggestion has been made for a dinner set that appeals
to us as quite unique and attractive. It is called a Musical
Set, the decoration to consist of a band of gold on the edge

SYRACUSE, NEW YORK

December 1915

and below in gold the bars of the base and treble clefs with
the notes of the first line or more of the good old songs such
as “Drink to me only with thine eyes,” “Should auld acquain-
tance be forgot,” ete. If desired the words also could be used
as a border of heavy lettering below or above the bars, or of
small lettering between the clefs. Another suggestion was
a literary set using familiar quotations or proverbs making
fancy lettering that would make a solid border of the desired
depth separating the words by a decorative unit such as a book,
ink bottle, hand with pen, etec., or some object connected with
the quotation, the same unit being used in every case on
one object. In the same way a Fish or Game set could be
made by using quotations referring to the fish, sea-river or
lake, or to the various birds, sky, field and woods, and separ-
ating words with fish or bird units in gold. Enamel could be
introduced into the notes, units, etc., if desired, but it seems
as if the scheme of white and gold would be best. Other sets
could be worked out in the same manner.
* * ok

The Editor is still making collections of stamps for her
son and renews the offer of last year to exchange Robineau
Poreelains cr Keramic Studio publications, if preferred, for
stamp collections. No common one and two cent stamps
accepted but anything else in good condition. Catalogue
price allowed—would like them before Christmas.

x #

NEWARK KERAMIC CLUB
Jetta Ehlers

For the benefit of other clubs who might be interested
in the planning of study courses, a brief outline of that fol-
lowed by our Newark Keramic Club last season is given. The
subject for the course was “‘color.”’ Mrs. L. Vance Phillips
who has been making a special study of this branch of art
work was the lecturer and critic for the season and under her
skillful guidance the course was planned and carried through.

The first problem was: “Geometrical design for six-inch
tile, to be carried out in three values of one hue with a touch
of complimentary” The making of a color chart using Prof.
Muensel’s plan of five colors followed this and made us ac-
quainted with a new color theory. ‘The next problem was a
design for a tea caddy, the color scheme to be an analogous
one using three values. The making of a more complicated
color chart followed and proved most important. Another
interesting problem was the designing of a small covered box,
using a trial color scheme. A cracker jar design to be expressed
in three hues, three values, three chromas and three areas was
still another problem of much interest. More color chart
work followed and so on through many interesting experiments
and stunts. We cannot speak too highly of the value of con-
centrated effort for the entire season on one subject as the
plan has proved so successful in our own society. We realize
that the study course is the time which keeps the club alive.
It develops and advances the weaker worker and it keeps
the stronger and more advanced one from getting in a rut.
Various workers have come to us each with some fresh message
and with a consequent broadening of viewpoint for us. We
sometimes wish that other clubs would give of their experience
to our mutual profit.

106

DESIGN AND ITS APPLICATION TO PORCELAIN
Henrietta Barclay Paist

PROBLEM XVIII. COLOR HARMONY, APPLICATION—Concluded

“Beauty in Life and Art is not accidental; it is an organic thing, having
its own laws and consequences.”’—Walter Crane.

“Harmony of Sound is the study of the musician and tuned colors are the
materials of the colorist so must the art of the colorist have a scien-
tific basis and a clear form of color notation. This will record the successes
and failures of the past, and aid in a search, by contrast and analysis, for the
fundamentals of color balance.””—Munsell.

HIS being our final problem in the course, we will, before

stating the exercises of this lesson, review the course by
Problems as it has progressed. We have, I am sure, by this
time, a clearer idea at least of the subject of design, the laws
governing it, its relation to the other arts, and the system or
method of procedure, without which no subject can be made
clear.

We have learned that Decorative Art differs from Pictorial
Art in that it deals with types, rather than accidents of nature;
that it calls for a flat treatment and for regular arrangement
of material in order to conform to space and not become obtru-
sive; that to be worthy of the name, a decoration must be in
harmony with the shape and the purpose of the object decorated,
that to know good decoration, to acquire good taste and dis-
crimination, requires systematic training.

We have learned something of the system by which a deécor-
ation is developed and made one with the builded object. We
have acknowledged our limitations and have tried to make the
most of them, feeling that while we, as china decorators, cannot
encompass the whole of Art, we, nevertheless, have our
place, and that “Art rests upon a basis broad enough to en-
compass all of man’s activities.”

“No system of ornament can be definite and final, since
such system, to be real and vital, must express the aesthetic
impulse of those who create it, and since the direction of the
aesthetic changes with every era.’’ However, the underlying
principles are forever the same.

We began by defining these principles and in an elementary
way, by the use of lines, tones and areas, demonstrating them
in the construction of designs of different characteristics. Un-
fortunately, we do not make the shapes we decorate, so we
began the study with the construction of design and worked
from that point of view towards the application; then choosing
our shapes, studied them with reference to the placing of the
design, and endeavored in this way, by bringing the two into
harmony, to produce an object of Art that should be a logical,
consistent, finished product, showing one thought in shape
and decoration. We have decorated china too long without
giving to it this thoughtful study—without co-operation with
the author of the forms but such haphazard ornament will
soon be a thing of the past; having seen the light, we will, in
this as in other things, be quick to put our theories into practice.

We have seen that the principles,—rhythm, balance and
harmony—relate to line, shape, tone and color. We have
line rhythm, tone rhythm, shape rhythm and color rhythm;
line balance, tone balance, (as demonstrated in the neutral
values,) and color balance, (depending on the strength as well
as on the value of the color.) We have harmony of lines, of
shapes, of tones and of color, so that every criticism is based
on these three principles.

Are the lines in harmony with each other and with the
boundary line? Is there a feeling of balance between space
and mass? Is there a balance of tone? Is therea general feel-
ing of harmony—of mutual dependence—of lines, tones and
areas—a feeling of unity? Is there a lack of variety in space

KERAMIC STUDIO

and mass, or is there too much variety, causing lack of unity—
harmony? These are the points which form a basis of crit-
icism for the teacher. These are the questions to ask yourself
when studying your own efforts. In this way you may become
your own critic, forming a judgment of your own, and that is
the aim of this course, to leave the student less dependent, with
a basis for judgment and an appreciation of the subject of de-
sign that will render her further efforts joyous and practical,
and enable her to say with Robert Louis Stevenson “I know
what pleasure is, for I have done good work.”

“The delight in beauty is common to all and is merely a
matter of degree—not of kind.” Let us, by study and sincere
effort, cultivate an appreciation, helping thereby to raise our
craft to a position of dignity in the Art World.

Industrial Art has come into its own, and in this practical
age, the article that combines use with beauty, holds for us a
double interest. We are forming the taste of the next genera-
tion by our association with things artistic. Let us see that our
study be not superficial; that we look for reasons and methods
as well as for effects; that we work for sincerity rather than
novelty.

It is presupposed that the student already has, or expects
to acquire, the technical knowledge of this craft in the work-
shop or the studio. Without this practice, these lessons are
futile. We can define the elementary principles on paper and
can learn the value of orderly thought, but the methods and
technique must be learned by actual contact with the materials.
As to the Problems herein stated, we have been able only to
touch upon each, but the work may be carried on and made
practical through the criticisms as arranged for in the regular
course by correspondence, and if the suggestions thus gained
are carried out in the practical application—in the actual work
of the studio—you will have gained tremendously in helping
to bring about the results for which we have so long been work-
ing.

The last fifteen years have been ones of steady progress
and to-day we have as leaders and co-workers, many of national
prominence, and one at least, who has received international
recognition. Our exhibitions are an education and a delight,
and the student of to-day has inspiration on every hand and
knowledge is easily gained. Let us not be satisfied with imita-
tion even of the best, but like those successful ones, go straight
to the root of the subject and gain for ourselves the ability to
create something that shall express ourselves, believing with
Henry Turner Bailey that, “Of the Creative Artist it may
always be said, “even the winds and the waves obey him!’ he
orders everything after the counsel of his own will for the
sake of perfect harmony.”

EXERCISE

For our final exercises we will put the applied designs of
Problem XII* into color. Here we are reminded that we are
coloring articles for use on a white background (the tablecloth)
and will try to keep our color schemes delicate and in close
harmony. Refer often to the chart for shades and tints. Show
the analysis of color schemes under each piece, indicating Hue,
Chroma and Value as before.

There is no limit to the palette of the china decorator.
The greatest trouble and the thing that confuses us most is
the enormous number of colors on the market; the variety of
names, meaningless and ludicrous, of the different makes of
colors, shades and tints, differing in name only. One may by
the use of the chart and experiment with colors at hand, form
her own palette and her own judgment and not be confused by
the vast supply on the market.

* See illustrations Plate XIV, January, 1915 number

KERAMIC STUDIO

_ Every student should make her own sample plate, testing
colors, until she has approximated the Hues, Shades and Tints
as shown in the chart. She will then be equipped with a china
palette that will serve her every need. The names given to
the mineral colors matter little. The important thing is to
know the fundamental colors and how from them the endless
combinations of shades and tints are produced. This is not
so easy to determine with the mineral colors as with those of
water or oil, but the student may, by experiment with colors
already prepared and by mixing for herself, secure a definite
palette that will render her independent. Time spent in these
experiments is time gained and will add seventy-five per cent.
to the efficiency and independence of the worker. A sincere
student cannot pursue such a course as is here outlined with-
out gaining at least a measure of independence and a judgment
and appreciation which will be reflected in her work.

STUDIO NOTE

Miss Jeanne M. Stewart of Portland, Oregon, comes east
in December for her short term classes in Chicago, Cleveland,
Minneapolis, etc. Her studio will be kept open in the mean-
while for mail order business, etc.

VASE, WISTARIA—ELMA S. RITTER

107

108

Mrs. Simonds
Miss Wurthman

Miss Harrison

Mrs. Black

Miss Julia Witter
Miss Lingley

Mrs. English

NEWARK KERAMIC SOCIETY
L. Vance Philips

HE Newark Society of Keramic Arts has been for some-

time attracting the attention of keramic workers and is fre-
quently spoken of as the leading eastern club. A consistent
study course has been earnestly maintained and made the
major object in the club’s life. Exhibitions are treated only
as milestones making progress, and with no thought of being
a channel for sales and orders. These latter necessary fea-
tures have been handled from the studios and continually
kept apart from the club’s activities. The result of this simple-
ness of aim is worth noting since we know of a number of
Keramic Clubs that have been wrecked in the effort to record
progress and effect sales at the same exhibitions.
;., During the past year one of the problems presented
the educational committee was a breakfast set, the scheme
one of simple complement, from one to three values of blue
with just a touch of orange. The blue was of a given line
(all using the same pigment) of a slightly greenish and grey-
ish character with the orange tones accordingly. Each mem-
ber contributed from one to four pieces and used her own de-
sign. Without exception this was carried out in enamel on
our own beautiful Lenox Belleek—the glaze of which is so
admirably suited to enamel. The harmony achieved was
admirable. No one attempted elaborate ornament. The
good taste shown resulted in this thoroughly American table
holding the keenest interest of all visitors. Some of the mem-
bers had on this table their finest pieces. Among them Miss
Kroll, Miss Ehlers, Miss Forster, Miss Payne, Miss Worth-
man and Mrs. Waterfield. In texture of the enamel and the
execution of a simple and beautiful design Miss Kroll’s covered
cake plate was a gem. Miss Ehler’s coffee, sugar and cream
had all the charm and individuality that marks her designs.
Her enamel, without~ outline, possessed a semi-transparent
quality giving the effect of the enamel being a part of the glaze
itself. Miss Forster and also Miss Payne elected to use three
values of blue. Their nice observance of the largest area
of middle order, small area of dark value, with nicely dis-

Mrs. Hilditch

KERAMIC STUDIO

Mrs. Mosher Miss Condit

Miss Seeber

Miss Hyde

Miss Casperson

Miss Annie Payne
Miss Kroff

persed tints of orange gave these designs a nice sense of both
variety and harmony. Miss Foster’s design was especially
fine with a distinctly individual note. Mrs. Waterfield’s tea-
pot was a part of a charming set displayed on her individual
table. Miss Cameron’s two sizes of plates carried a beautiful
motive in a value of blue neutral, neither weak nor aggressive
but satisfying. Miss Wurthman’s plate had much praise
for strength in designs. Mrs. Simond’s orange bowl and in-
dividual fruit bowl showed nice handling of enamel and a fine
sense of values. The bowl proved a most attractive center-
piece. Miss Witter contributed an open pitcher beautifully
and simply carried out. Mrs. R. A. Mosher’s plate was good
in spacing and had a nice feeling for harmony. Miss E. Suton
expressed especially good values. Miss Hyde’s marmalade
jar had an excellent design well thought out. Mrs. Wood-
ruff’s hot water pitcher was delightful. Miss Lingley’s most
excellent cake plate carried more orange in the center motif
than balanced with the border idea. The border expressed
the more perfect balance of color. Mrs. Hilditch, a new mem-
ber, had a plate and bowl most promising for good things to
come. Miss Clark’s very good design would have been more
restful with the darkest value of blue two steps lighter. Miss
Harrison’s plate and relish dish were carried out in fine taste.
Other good things contributed to the excellence of this table
set, which spoke of beauty achieved by keeping to a given
problem, expressing measured values and measured areas,
and attaining harmony of lines through selecting a similar
purity or a similar greyness.

Among some single pieces standing out for excellence of
a certain kind Miss Clark’s dinner plate stood out, a golden,
joyous effect and with a certain dignity, a spirit appropriate
to its use. The execution was surpassed by many pieces
but the charm of lines and values were distinctly above mere
technique being a pure analogous scheme ranging from yel-
low green in two values through yellow and gold and just touch-
ing orange, the drawing, on the whole, fine and firm with a
good sense of balance and the outline of gold around the green
sections broad and firm enough to satisfy and to adequately

KERAMIC

STUDIO 109

Miss Cameron

repeat the gold background. Miss Mary E. Harrison, the
club’s president, had an individual breakfast set of lavender
and soft green which was a distinct success. It was a pure
complimentary scheme in which the blue purple of light value
and of a subtle grey quality was the major hue, with the green
playing up as second. The tray was white with a single line
of the dominant color and the cloth had a bit of embroidery
employing the color and motive used in the set. The beauty
of the porcelain was preserved in large areas, being choicely
decorated rather than generously curved.

Miss Ehler’s pair of book ends touched a distinct field.
A quiet golden harmony. The brown wood mounts carried
each a tile with formal landscape in flat lines of dull golden
browns, reds and brown greens. These would be a delight on

Mrs. Wilson Mrs. Hilditch

Mrs. Hilditch Mrs. Francis King

any library table. Miss Ehlers had two suggested tea sets,
one in a close analogous scheme of greens and blues, the other
reaching the limit of an analogous selection running from
yellow green through gold into yellow pink, both of which
charm but the former of more distinction. Miss A. Wurtman’s
very successful jar in blue green in which both lustre and color
was employed, attained a balance so good that the chief fac-
tors of its beauty was all round harmony and suitability of-
design treatment and coloring, making it a useful flower vase.
The values selected were admirable, in balanced steps. It
was altogether satisfactory. Miss Louise McDougal’s all-
over decoration on a vase was charming and beautifully bal-
anced and of fine color scheme. Mrs. Straubach’s tea caddy
was in design and color thought so pleasing that one wished

Miss Charlotte Kroll

Mrs. F. N. Waterfield

Miss Nora Foster

1f0

KERAMIC STUDIO

Mrs, Simonds Miss Manning

Miss Wing

for less timidity in the carrying out. Miss Adele Hyde’s gold
set was finely executed, not so perfect as to be stupid nor so
imperfect as to offend but of a nice restful dignity. Miss
Payne’s cylinder vase expressed a good sense of color and de-
sign. Miss Forster’s trinket box, while not coming to her best
ideal of enamel texture was a perfect success as a trial scheme
of color where green gold and violet were balanced with a
harmony. Excellent values were shown in a small tray in
blue and orange, admirable in design and thoroughly original.
Mrs. Rodman gave a happy simple and fresh treatment to a
tea set, the ivory green and gold forming an analogous harmony,
Her tea caddy however was her best piece in design color and,
execution, altogether a credit to the study courses. Mrs.

Mrs. Simonds

Miss Fannie Clarke Miss Clarke
Miss Strombach

Miss Hyde
Waterfield had a stylish little vase with an all-over motive in
black and green. Miss Kroll used generously and effectively
on a large hexagon bowl, an enamel of grey blue green, of
texture hue and value leaving nothing to be desired, the
laying of the enamel itself being masterly. In certain panel
divisions a soft yellow of light value was combined with this
green and the lines harmonized so completely one longed
for more area devoted to so sympathetically perfect a com-
bination. On a small bowl a most exquisite greyish tur-
quoise enamel was used with a lighter value of yellow green.
The dash of pmk employed would have gained in attractive-
ness if used more sparingly and greyed into a better harmony.
Miss Ethel Wing’s gold set was delightfully simple and of nice

Miss Ehlers

Miss Mary E. Harrison

KERAMIC STUDIO 95!

Mrs. Hilditch Miss Ehlers Miss Condit Miss Ehfers Miss Ehlers
Miss McDougall Miss Lingley Miss Simonds

Mrs. Manning Miss Ehlers Miss Foster Mrs. Woodruff Mrs. Waterfield Miss Meda Casperson
Mrs. King Miss Wurthman Miss Clarke Mrs. Rodemann Miss Harrison Miss Cameron

NEWARK KERAMIC SOCIETY

KERAMIC STUDIO

Miss Cameron

execution. Mrs. Black’s tea caddy stands out as one of the
choicest bits of the entire display. As to color a pure close
analogy, two values of blue and one of grey green sympathet-
ically adjusted with breadth and total absence of outline the
enamel was laid with richness and depth in perfect harmony
with the rugged design. This piece received deserved and
unstinted praise. The punch bowl was a harmony of warm
colors with much variety and beauty shown in the panelling.
The inside was in perfect harmony a rarely beautiful effect
and while the execution was admirable and almost perfect it
was delightful, more perfect would have been less beautiful.
The design inside was of a freedom and style rarely beautiful.
The outside fruit basket motif seemed drawn with less free-
dom and not in just the same spirit, neither was the color ef-
fects employed in this motive as pleasing or as harmonious
One wished for the inside motif expressed in a little more
force and yet having the character so admirable in the inner
decoration. These pieces mark Mrs. Black as a strong member.
Mrs. King had a saucy little tea set with all-over motive, each
unit being quite individual in character and the whole pos-
sessing style and uncommon charm. Miss Lingley showed a
splendid feeling for color in the trial scheme on a rough brown
bowl. Another trial scheme was used on an open pitcher in
blue green, red violet and golden brown. Miss Cameron’s
chief piece was a large blue bowl in two values. It had
the previous distinctiveness of being the “first prize’ bowl
at the New York winter exhibition. It had been popularly

Mrs. F. S. Black

Miss Cameron

and professionally accorded this distinction and does credit
to a young and original worker. Mrs. Hilditch a new member
showed a bowl in enamel beautifully executed of fine design
with enamel well laid and fired. Also her cereal bowl and
plate on the breakfast table were unique and most pleasing.
Mrs. Arthur Wilson’s best piece was a butter ball plate simple
and strong in treatment. A Dutch kitchen by Miss Julia
Witter with color beautifully balanced and of almost perfect
execution. A new worker Mrs. Mosher had a single plate
nicely spaced, color beautifully balanced and of good design.
Miss Guler had a covered dish subscribing to all good points
in design and color and not expressing a single bad point, in
fact altogether good. Miss Condit’s suggested table set was
very fine in closely selected color and of charming freshness
and good design. In Mrs. Simond’s personal exhibition her
cracker jar stands out as best in design and general treatment.
A salad bowl and plates by Mrs. Manning executed in gold
and silver with a touch of black was the most interesting part
of her exhibition. A tea caddy by Mrs. English was quaintly
charming executed in closely related colors. Mrs. Oscar.
Mockridge showed a salad set in gold of refined design and
treatment. The whole exhibition was most satisfactory.
The many pieces of enamel laid without outline were very
generally admired, a freshness and freedom found expression
thereby, and the unity with the glaze seemed by this procss
the more complete. In tableware of simple motive this was
especially apparent and pleasing.

Miss Annie Lingley

Miss Condit
Mrs. Black

Miss Condit

KERAMIC STUDIO

113

Miss Louise McDougall
Mrs. English

Miss Wurthman

Mrs. H. C. Rodemann

Mrs. Mockridge
Mrs. Wm. Woodruff

NEWARK KERAMIC SOCIETY

DESIGNS FROM THE ZINNIA (Page 115)

Ruth MacCollin
BONBON BOX

HE outline of flower and the dark grey tips of petals and
stems are green gold. Second Fire—Leaves are oiled
and dusted with Florentine Green omitting the outline. Light
part of flower is oiled and dusted with Cameo 1 part and Peach
Blossom 1 part.
The grey tone in wide band through the center and
lower part of box is oiled and dusted with Pearl Grey and
a little Yellow Brown. Retouch Gold.

VASE

Oil leaves and stems and dust with Water Lily Green.
Oil dark background above flowers and dust with 3 parts
Pearl Grey, 1 part Dark Grey, 14% part Apple Green. Oil
flowers, the ball at end of stem and the triangle between the
design and dust with 1 part Deep Ivory, 1 Ivory Glaze and
¥v Yellow Brown. If a tint is desired on the lower part of
vase oil it for the second fire and dust with Pearl Grey and a
little Albert Yellow.

PLATE

Outline with Dark Grey and a little Black or with
Gold. Second Fire—Oil leaves, the outer and inner band and
the figure between the motifs and calyx of flower and dust
with Florentine Green and a little Pearl Grey. Oil the stem
in leaf and the flower and dust with Cameo and a very little
Deep Ivory. The dark part in flower and the dark inner
band and dust with Cameo and a little Blood Red. The
wide outer band is oiled and dusted with 2 parts Ivory Glaze,
1 Pearl Grey and 1 Yellow for Dusting or if the tint is desired
over entire plate it may be put on for the second fire.

CUP AND SAUCER
This may be carried out in the same coloring as the plate
or the following may be used: Oil leaves and dust with
Florentine Green and a very little Dark Grey. Oil flower
and the wide band and dust with 2 parts Ivory Glaze and 1

part Deep Ivory. Oil dark center in flower and dust with
Coffee Brown. The outline in this design may be omitted.
Clean out the color between the petals of the flowers leaving
it white instead of the outline. The two stem spaces under
the fiower and the narrow line around band is Gold, a wide
gold band should also be either on the top or the sides of the
handles.

PLATE WITH ROSE BORDER (Page 116)
Nellie G. Leyman
UTLINE with Dark Grey and a little Black. Oil leaves

and stems and dust with Yellow for Dusting 3 parts, -

1 part Brown Green. Oil centre of flowers and dust with

Yellow for dusting and a little Yellow Brown. Oil the back-

ground in border and center design and dust with 1 part Yel-
low for dusting and 1 part Ivory Glaze.

VASE, WISTARIA (Page 107)
Elma S. Ritter

HE body of the vase is white or may be ivory. The

leaves, band at the bottom and V-shaped section at the

top, Dark Green; for the stems use a Yellow Green slightly

shaded if you wish with a darker tone. Use a rather deep Vio-

let for the upper petal of the flowers and a lighter Violet for

the remainder of the flowers and buds. If an outline is used
it should be Black.

er
COVERED ROUND BOX (Page J!7)

Albert W. Heckman

O be carried out in soft enamels. Flowers are Dull Violet
Enamel with Lavender Enamel centers. Leaves and
stems are Green Enamel. Background a light green tint.

114

KERAMIC STUDIO

BOWL AND BORDERS—M. L. BRIGHAM

LATE border—Oil flowers and stems and dust with Water

Green. The flowers should be oiled solid and the light

edge scratched out. Oil leaves and dust with equal parts

Florentine and Bright Green. The dark band is oiled and

dusted with Dove Grey and the dots are painted an Orange
using Yellow Brown and a little Yellow Red.

Bowl—Leaves, outline and stem are Green Gold.
Second Fire—Oil the white outer circle in large flower of
both panels and dust with Coffee Brown and a little Yellow
Red. Oil the centers and dust with 1 part Albert Yellow and

2 parts Ivory Glaze. Oil the grey tone of the remaining large
flower and dust with Glaze for Blue and a little Banding Blue,
oil the center and dust with Glaze for Green. The outer grey
tone in the two next smaller figures is oiled and dusted with
Mode. The outer edge of the remaining flowers is oiled and
dusted with Bright Green. The grey tint is oiled and dusted
with 3 parts Pearl Grey, 1 Warm Grey and 1-4 Apple Green.

Bird Border—Outline birds and bands with Apple Green
and Yellow Green and the flower motif with Violet and a little
Dark Grey.

KERAMIC STUDIO

Second Fire—Oil grey tone in birds’ tail and dust with
Glaze for Green. Oil wing and dust with Glaze for Blue and
a little Banding Blue. Oil dark circles in tail and dust with
Yellow Brown and a little Yellow Red. Flower is oiled and
dusted with Yellow for Dusting and the leaves with Bright
Green. The outer band is Glaze for Green and the narrow
one is Yellow for Dusting.

_ DESIGNS: FROM -THE

Pee
Ga

Sussestion Foro Bon Bort
and Becoretion-

Suggestion Peres the.
Déchration oF BB ph :

DESIGNS FROM THE ZINNIA—RUTH MacCOLLIN

1 So)

Border—Outline is not necessary. Oil the leaves and
grey and oblong space dust with Florentine Green and a little
Yellow Brown. Oil petals of flowers and dust with Deep
Ivory. All black tones are Gold. If a background is desired

oil it for the second fire and dust with Pearl Grey and a little
Albert Yellow.

(Treatment page 113)

16 KERAMIC STUDIO —

ROSE BORDER AND PLATE—NELLIE G. LEYMAN (Treatment page 113)

KERAMIC STUDIO

COVERED ROUND BOX—ALBERT W. HECKMAN

ANSWERS TO CORRESPONDENTS

A. A. R—1—In November Keramic is a study by J. K. Heisman which
I do not fully wnderstand. In the first place is the placque dusted or painted?

2—Where can I get the Light Violet?

3—Please give the exact shades of the dragon fly head, body wings and two
front feet.

4—What color in center of flowers, what shade of green is the circle that goes
around the Yellow Brown and Brown Green panels with the Yellow background.
Also what color in the center of little blue triangles.

TI wish lo paint the design on a 14 in. placque, of course I will have to put

more motifs on but should I enlarge them any?

5—In the chop plate page 103 of November Keramic Studio Snow Bird
design by H. B. Paist is there any background back of clouds and what color are

- the birds outlined with? What color shall I make the bill and the eyes?

S17

y
|
A

i
A

(Treatment page 113)

6—I have painted a teapot to match a cream and sugar in light green luster
and got it too dark. Would you advise me to take it off with acid or
should I try to get another teapot and paint it over?

1—The instructions are given for painting.

2—You can buy the Light Violet from any large art dealer or it is made
by a number of different manufactureres. R

3—The head is Dark Grey, Shading Green and Copenhagen Blue, the
body is Copenhagen Blue and a little Apple Green. The coral in the wings
is given in the treatment. The blue is the same as the grey blue lines, the
yellow green is Yellow Green, Albert Yellow and a little Dark Grey. The
front feet are Black and Banding Blue.

4—Centers of flowers in the coral tone, the circle is the same green as in
wings, color in center of triangles is the same as im panels.

It will not be necessary to enlarge the motif.

5—Outline the birds with the Copenhagen Blue mixture. It is not nec-

118

essary to have a background back of birds but if desired oil it for the second
fire and dust with Pearl Grey and a very little Lemon Yellow.

6—Luster can be taken off very easily with a china eraser, dry kind will
do, it is a liquid and is applied by wrapping a little wad of cotton on the end
of a brush handle, dip it in and rub it over the luster, wash it off as soon
as possible by holding it under running water if allowed to remain on too long
it takes the glaze from the china. It would be less trouble to remove the lus-
ter than to paint a new teapot.

L. T—Will you kindly tell me how to use Weber's Sphinx Gold correctly

I tried putting a gold band on some plates but after firing it came out so pale
without any glaze at all. Do TI have to fre it more than once?

Mix the gold with Garden Lavender Oil or turpentine to the consistency
of thick cream. You probably did not apply the Gold heavy enough causing
it to look pale though care should be taken not to get it on too heavy, there
must have been some other reason for its firing without a glaze, possibly damp-
ness in the kiln or some other reason. It is always best to apply Gold twice,
burnishing it before applying the second coat.

C. L. S.—Should etched china be cleaned with any thing before applying
gold or paint? A piece I have now turned black in spots, can you tell me what to

do?

2—What can I apply on Light Green Lustre? Tt came out rather dark in
places.

3—W hat effect would lustre have over Gold? If O. K. what would you ad
vise?

4—What paint or lustre could I put on light green lustre or Mother of
Pearl?

1—Do you mean the etched ware that you buy or some you have etched?
If the former and the china’s white and clean looking it is not necessary to
clean it but if it is some you have etched the resist for the acid would neces_
sary have to be cleaned off. The black spots have been caused by some-
thing else, possibly it was in the china or may be caused by something in the
kiln. We would not know a remedy without seeing what the spots were like.

2—Gold can be applied over lustre or you could apply Dark Green Lus-
tre. It comes off very easily with a china eraser and itis usually better to take
it off than trying to doctor it up.

3—Lustre over gold changes its color. The most satisfactory color is
Light Green Lustre on Dark Green which gives it a metallic appearance.

4—The answer to No. 2 would also apply to this question. Yellow Lus-
tre of Light Green could be applied over the Mother of Pearl, in' fact most

KERAMIC STUDIO

colors could be applied. Any color of paint could be applied over either i
it was dusted on.

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BELLEVUE INDUSTRIAL FURNACE CO., DETROIT, MICH.

ADDRESS ALL CORRESPONDENCE TO

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Illustrated Catalogue giving complete details as to Equipments, Dimensions,
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A CHRISTMAS BOX OF CHERRY COLORS!

SPECIAL OFFER THIS MONTH!
A Splendid Christmas Present!

Containing 15 Painting Colors, 10 Dusting colors, 20 Enamels,
allin half vials, as follows:

PAINTING COLORS 34 Vials DUSTING COLORS 3< Vials
Ivory Glaze 7c Dove Grey 14c
Pearl Grey 10c Cameo 14¢
Dark Grey (for Flesh) 13¢ Mode 16c
Pink 13ce Water Blue Ile
Pompadour 9c Glaze for Blue 10¢
Ruby 34c Glaze for Green 10c
Violet 16c Florentine Green lic
Mauye 21ec Bright Green 10c
Copenhagen Blue =—«- 9e:« Coffee Brown Ile
Dark Blue llc Yellow for Dusting 9c
Brown Green No. 2 9c
Apple Green 7c
Shading Green 9c
Yellow Brown 9c
Yellow for Painting 6c

ENAMELS 34 Vials
Special White lic
Jasmine Yellow 15c
Naples Yellow 15c
Jersey Cream’ 15¢
Satsuma 15c¢
Buff Brown 15¢
Warm Grey E 15c
Marion Grey 15¢
Pompeian Red 15c¢
Scarlet No.3 18c
Orange Red 18¢
Peach Pink 15c
Warmest Pink 15c
Wistaria 20c
Azure Blue 18c
Egyptian Blue 15c
Celtic Green 15¢
Florentine No. 1 15¢
Grey Green 15¢
Grass Green 15c

$1.16

$1.83
Complete Box, 45 colors, value list price $6.09
FOR $4.00

Or a box of the painting and dusting colors (with-
out the enamels), 25 colors, value list price $2.99

FOR $2.00
SEND YOUR ORDER EARLY

The colors will be sent postpaid to any address in the United States
or Canada, in a nice special Christmas box.

SEND FOR COMPLETE PRICE LIST
THE ROBINEAU POTTERY, SYRACUSE, N. Y.

NEW “SATSUMA” SHAPES

$3.00

No. 33 Bon Bon Box,
Footed, 34 inch, 85c.‘

No. 59 Cup and Saucer, 65c. No.. 89 Vase, 5 inch, 85c. No. 77 Vase, 84 inch, 51-65
Add Parcel Post charges to above prices.

Price list of K. E. Cherry’s Colors and Enamels and a catalogue of Coov-
er’s Black Outline Designs sent on request. Try my “Syracuse” Outlin-
ing Ink, medium vial 25 cents, large 50 cents.
Weber’s Sphinx Gold 65 cents per box $7.20 per doz.
Sleeper’s Crucible Gold 65 cents per box, $7.20 per doz.
Add 2 cents for postage on each box of gold.

Try Me for China Painter's Supplies

JESSIE LOUISE CLAPP, 516 McCarthy Blk., SYRACUSE, N. Y.

Advertising copy for the January number of this magazine

should be in our hands the FIRST OF DECEMBER
KERAMIC STUDIO PUB. CO.

Cvorythinng por Gatiats

REDUCTION SALE ON
almost everything continued through December.
Send in your orders.
WHITE CHINA—order this too at reduction prices.

SOME SPECIALS—B8. & B. piates 8c.; Belt pins, all sizes 7c.;
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palette knives 10c.

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i THE CLASS ROOM

Na. 2

on tree fat coy)

The Class Room Books

No. 1 The Art of Teaching China Decoration......$3.00 postpaid
No. 2 Flower Painting on Porcelain........................ 3.00 “
No. 3 Figure Painting on Porcelain and Firing... 3.00 “
No. 4 The Conventional Decoration of Porcelain

ANC CASS eth aes ee Ls ch ME eS, 35 3.00 vs
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When writing to advertisers please mention this magazine

DO NOT BE MIS-LED

by dealers or manufacturers when they state that a eolor |

they wish to sell you is “‘just as good” or “better than
EFRY’S

It is impossible for:a calor to be better than Frys; and to

999

claim a color is “‘just as good” as Fry s” stampst

as only an imitation

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_ and still are

CONTRIBUTORS

THE BURLEY EXHIBITORS
IDA H, COCHRAN
N, £.-EELIS
A. W. HECKMAN
EDITH EL. MILLER
EULA E. McELHINNY
M,.G. MYERS
IDA UPTON PAINE
ANNE M. STEWART
FLORENCE R. WEISSKOPF

PAMONTHLY MAGAZINE FOR THE POTTER AND DECORATOR | MONTHLY MAGAZINE FOR tu: POTTER ‘AND PAMONTHLY MAGAZINE FOR THE POTTER ANDDECORATIR |

The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without special permission

CONTENTS OF JANUARY, 1916

ee 6

: Page
Editorial tt 119
Breakfast Set F. R. Weisskopf 120
The Burley Exhibition ; 123-129
Bittersweet Motif F. R. Weisskopf 129
Punch Bowl—Bittersweet Motif F. R. Weisskopf ee si!)
Borders—Bittersweet Motif F. R. Weisskopf 131
Tile—Bittersweet Motif F. R. Weisskopf 2
Bittersweet Motif F. R. Weisskopf 133
Conventional Narcissus F. R. Weisskopf — 133
Cup and Saucer _ Albert W. Heckman 134

NATURALISTIC SUPPLEMENT

Design for Platter (supplement) _ F.R. Weisskopf |
Roses (supplement) Jeanne M. Stewart S
Biscuit Jar Ida Upton Paine J
Studies of Bittersweet F. R. Weisskopf 2-3-4
Plate Borders—Orange Blossom Eula L. McElhinny 4
Plate Borders M. G. Myers 5
Semi-naturalistic China Set Ida N. Cochran . 6
Violet Plate Ida N. Cochran 7
Cup and Saucer N. L. Effis 8
Cup and Saucer—Orange Blossom Motif Edith L. Mifler 8

THE OLD RELIABLE == FITCH KILNS

The thousands of these Kilns in use testify to
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE,

The only fuels which give perfect results in
Glaze and Color Tone

No. {! Size {0 x 12 im............. $15.00

No. 2 Size 14x 12 in.........$30.00

Gas Kiln 2 sizes No.2 Size 16 x 12 theo... 20.00
Ras Bi ive 56 x07 ener eee rchiascol Fay 2 ste e8 nr taun wing gecesi ie 25.00
WRITE FOR DISCOUNTS. No. 4 Size 18 x 26 tees 50.00

STEARNS, FITCH &CO., : SPRINGFIELD, OHIO

SYRACUSE,

NEW YORK

January 1916

i were unable to start the Beginner’s
aaa corner this month because the an-
nouncement of the competition was
so late that we did not receive enough
material even for a competition, so
we have decided to extend the time

f and have the competition close the
y fifteenth of February so that all
a will have plenty of time. We re-
peat our competition offer:
We would like eet for a “Beginner’s corner” in Ker-

amic Studio, little helpful articles or suggestions from those
who have had some experience in teaching. We would be
glad to pay for such articles and hope to start the department
in the March issue. To collect enough material to make
a good start, we will offer the following prizes for articles sent
in by February 15th.

First prize—Year’s subscription to Keramic Studio or
$4.00 in color studies.

Second prize—Nine months subscription: to Keramic
Studio or $3.00 in color studies.

Third prize—Six months subscription to Keramic Studio
or $2.00 in color studies.

All articles to be not over 600 words or under 200. Shorter
notes paid for in cash if accepted.

* * *

We would he pleased to have submitted instructive articles
on any subject connected with ceramics and ceramic design,
with or without illustrations. And we are always glad to
receive letters of criticism or suggestion from our readers.
They are very helpful in calling to our attention what is needed
and the things that have been neglected or have escaped our
notice.

THE WEAKEST LINK IN THE CHAIN
Anita Gray Chandler

HY is it that we sometimes hear people say, “No, I don’t

care for china-painting’? These are the same people

who would not think of saying, “No, I don’t care for music,
or sculpture, or painting.” So it cannot be a general lack of
artistic appreciation. A college professor known for his good
judgment in art, and for the fine color plates he makes for his
own work (Biology) said to me recently, ‘““You paint, do you
not? What is your branch?” China-painting,” I answered,
and he said one word, “Oh.’’ You know how he said it. It
showed a trace more interest and consideration than if I had
answered ‘“Sign-painting,”’ or “Calcimining.” So, in justice
to a beautiful art and my own humble interpretation of it,
he was induced to view my work, and amended that “Oh”
by commenting, “Your work is different. It is not what one

expects when you say ‘china-painting.’” I felt a little thrill.
Why? What is most china-painting like? And why is it
like that?

China-painting is a legitimate art, a useful art; and it is
one of the most ancient forms of painting, as pottery, its na-
tural ally, is perhaps the oldest form of plastic art. Yet, listen
to this well-known Boston critic speaking of an admirable ex-
hibition of the Mineral Art League given last year at the Arts
and Crafts gallery on Park Street: ‘““China painting, as we
know, has for some years past been in process of evolution
from feminine accomplishment towards art. As regards de-
sien it has got rather far along. The dreadfully realistic
apples, pears, pansies, that once constituted ‘fired china,’
have been superseded by more geometrical and symmetrical
styles of decoration. One will be pardoned for feeling that
an art in which the practitioners do not actually make the
articles that are ornamented is liable to superficiality.”” We
will be pardoned for asking if this gentleman accuses the por-
trait or the landscape painter of “superficiality” because each
does not ‘‘make”’ the canvas he “ornaments,” or the etcher
because he does not personally superintend the manufacture
of his copper sheets.

It seems to me the weakest places in china-painting lie
not wholly in poor design or the superficiality of the workman-
ship. They might be summed up rapidly under two heads,
thus:

I. Lack of draughtmanship.

II. Lack of study.
And the teachers themselves are most to blame. A great
number of teachers know little of the accepted methods of
teaching. Of course there are many who stand like beacon
lights along the new and better road. To these I do not allude.
The former require of a pupil no preparation,:no understand-
ing of art even in a general way, no note-book- work—nothing
apparently except a desire to “paint china,” commendable
in itself, possibly, but insufficient.

A prospective pupil comes to a teacher and says, “I want
to paint china—plates for my rail you know, and things to
give my friends for Christmas. But I don’t know how to draw
a straight line.’ Then the teacher who is probably a seasoned
veteran in the process of taking raw material and turning it
into a nice machine that paints roses something like her own
inside of a month, says suavely, “Oh, that’s all right. You
don’t have to know how to draw to paint china. You trace
your design just like you do in embroidery, then I will show.
you the rest.”

The average pupil comes to a teacher with one thought
in mind—to turn out as much china as possible, and perhaps
a little more, in a given time. Consequently she gets an equa-
tion like this: —Maximum speed— minimum time —Maxi-
mum output — minimum quality.

She is glad if her teacher paints most of the design, per-
mitting the pupil to wash in a few leaves or spaces so that her
signature may be affixed with some truthfulness, “because
you get more done that way.”’ Or, if she is self-reliant enough
to do her own work she almost weeps if she doesn’t get a plate
ready for fire in one lesson, and does weep if the teacher takes
off half a dozen dizzy lines.

(Continued on page 134)

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120 KERAMIC STUDIO

BREAKFAST SEI—FLORENCE R. WEISSKOPF

Use same treatment as for Color Supplement

KERAMIC STUDIO {21

849, 850, 85 MRS. LEROY T. STEWARD

THE BURLEY EXHIBITION

RS. Le Roy T. Steward, founder and president of the
Atlan Ceramic Club of Chicago, had two tables filled with
her chinaand Satsuma. By invitation, she showed her Historic
Ornament Set that has been described in the “International
Studio” and a Luncheon and Breakfast Set, enameled in Delft
blue asters and very conventional and decorative leaf forms,
with clusters of red berries, a gold latticed back formed with
gold and blue bands. This was shown on a grey linen cloth
embroidered with the blues and reds in the pattern that exactly
matched the design on the china. It is of unusual beauty
and simplicity of color scheme, though the decoration covers
well every available space. This artist has a national name
that needs no introduction in this meagre description.

Miss Sarah Hewen had an odd Japanese Incense Burner,
and while it is thoroughly original with the artist, she has given
the feeling of Japanese study.

Miss Marie Witwer of Topeka, Kansas, displayed a bowl
of oriental colors—detached flowers on a grey ground, enameled.

Mrs. Butler-Wheaton displayed two pieces which prove
her to be a most accurate draftsman, with fine color feeling.
All of her work shows the most exquisite care in technique.

Mrs. R. A. Jones had three beautiful Satsuma boxes. It

is dificult to choose between them. Her color arrangement
shows that she is fond of the brilliant combinations.

Mrs. J. W. Harner, Berwyn, displayed two of her choice
pieces. We are loathe to give more than a general descrip-
tion of her work, because it is all so excellent. In this case,
let us describe a bowl on the Favorite ware, which has a beau-
tiful medallion in the bottom and from it extends panelling of
gold with black, innumerable creamy-white flowers arranged
in the center of the panels which form a sort of medallion. We
cannot refrain from referring to the quality of the pink.

Mrs. Sexton of Wheaton, had a paneled vase in Satsuma.
The panels are formed by rather heavy uprights, which break
into a band at the top. The whole scheme of color is pale
green with red enamel in the center massing of the flowers. The
pale brown background holds the design together in good style.

It is not quite usual to find a gentleman exhibitor who is
in no sense identified with ceramics, but in the case of Mr.
F. C. Senge, we have an illustrator who sometimes gives us the
advantage of his clever ideas expressed on porcelain surfaces.
He had a very simple but effective set of six Tea Plates, done
in Dutch scenery in old Delft blue.

No. 917, Miss Elizabeth Leake, one of the Art Institute
Students, displayed a Coupe Plate, handled in a broad sten-

{22
pa style. Colors are in the pastel shades of grey, green and
pink.

The F. G. Coover Company exhibited a tile with an il-
luminated proverb, which is quite unique in its way, and so
beautiful in'its sentiment that we think it well worthy of men-
tion. It is’framed in an artistic little hard wood frame, with
mat surface.

No. 937, Mrs. Geo. Emmons showed a pleasing design and
color scheme on the cover of a small box, which is done in the
greens mostly, with a little touch of pink, lavender and orange,
and a very striking accent of black. She showed several other
pieces of quiet merit, but handled in a dainty style.

No. 872, Miss Liebolt exhibited an attractive square
Jewel Box in Satsuma with a geometrical decoration, well
balanced and equally well thought out, as to color scheme.

Mrs. Gale had quite a collection of pieces, all of which
showed good thought in design and color balance.

No. 965, Mrs. Le Roy T. Stewart, showed one of the well-
designed geometric box patterns. The center motif about
the knob in gold-red, and blues, is clever and pleasing.

No. 961, Mrs. Kissinger, student of the Art Institute,
exhibited a plate which is most delicate in colors, buff, green
and gold lines on the beautiful surface of the china, three
clusters of flowers and leaves held together by lines.

No. 953, Mr. Otto Trepte, had a Candlestick and Shade,
semi Renaissance pattern in dark blue and gold on lemon
yellow ground; full of vigour and up-to-date.

No. 978, Mr. John Franklin Butler, Covered Box, geo-
metric, blue ground accented with deep blue, unusual effect
of pattern on cover and sides.

No. 964, Mrs. Le Roy Steward, Jar. Perfect adaptation
of design to paneled sides. Chinese style of color with geo-
metric motifs in vermilion and blue. Each pattern has a dif-
ferent kind of flower, but so carefully balanced, it hardly shows
at first this subtle touch.

No. 947, Mrs. 8. W. Sexton, (member of the Atlan Club)
exhibited a covered box. Rich large flowers enclosed by
bands of color and gold, passion flowers in purple and white.

No. 1047, Miss Mae B. Howe, had a set, fine idea, great
simplicity, gold lines with tiny rose accents, leaving beauty
of china a part of the decorative scheme.

Nos. 1043-1044, Mrs. Scott Jones, charming Plate. Many
rich colors in flower bunches with border in dark blue and gold
holding them together.

No. 971, Mrs. Wm. Bonn, lovely colors, a subtle grey
toned background, showing shadowy yellow white tulips with
darker grey leaves. No outlines, not in competition or it
would have had an award.

Miss H. M. La Bryn’s was one of the most interesting
designs. The spacing of the outer border, the white ground
and center medallion are unusually fine, but the outlines are
somewhat uncertain and color uneven, but of pleasing con-
trast and variety.

No. 821, Miss Cora Webster, we noted a plate with a vig-
orous use of leaf form, held together by pink flowers and pur-
ple buds, with raised line background.

Miss Jessie Shaw of Harvey, Ill., sent a sandwich tray
ornamented with a gold border enclosing peacocks and grapes
in Autumn colors, interesting, but a trifle too much in feather
detail for the hard surface they decorate. She also had a bowl
of old English decoration of disconnected flower sprays paneled
in by irregular dotted lines, suggests old brocade pattern.
Style, conventional grapes and leaves with green gold.

Miss Lydia Hadden displayed a bowl of unusual dignity
and decoration. Gold used sparingly, but in long square forms
between flat all over leaf forms enclosing three white flowers.

KERAMIC STUDIO

Mrs. A, M. Barothy displayed several pieces, all rich in
color and unusual in style; she has a distinct individuality in
her work that is generally admired.

Miss Clara 8. Scott, of Kirwin, Kansas, sent in a very
curious candle lamp, showing the Chinese decoration in which
she employs the dragon. The only thing that she left mcom-
plete was the dragon’s claws so that we cannot tell whether
he is a symbol of royalty or peasantry.

Mrs. C. 8. Shanklin of Marion, lowa, showed a very ornate
chop platter with geometrical division, and a festoon of fruit
in between, the whole making a very attractive ornament.

Miss Mae B. Howe of Eau Claire, Wis., exhibited a part
of a dinner set with a simple and severely geometrical design
done in gold and pink. The very simplicity is very much to
be admired.

Miss Florence M. Wood of Kane, Pa., sent in a large group
of work, showing all three classes of work, naturalistic, con-
ventional and Satsuma, and received Honorable Mention on
No. 783 Cake plate.

Miss K. Madge Sageser of Chattanooga, Tenn., showed
a very daintily conceived decoration in fuchsia on a wafer plate.

Miss Mary Bearhope, of Columbus, Ind., sent in a very
interesting design, on which she employs the thistle design,
and we are very glad of the label, because she has convention-
alized it into block form until our knowledge of the flower is
entirely lost, but it is well colored and well designed.

Ursuline Convent, Tiffin, Ohio, who has usually had a
large display was this year represented by a very pretty sand-
wich tray done in soft pastel shades, showing good technique.

Miss Grace Weed, Warren, Ohio, among other pieces
exhibited a conventional service plate, which is done in raised
pearl enamels with red centers. It is difficult to describe the
beautiful effects she has secured by her gold paste dotted lines,
and the use of the beautifully drawn connecting lines.

Mrs. Mary B. Price, Richmond, Maine, had quite a col-
lection of china, all of which shows careful study in both color
and design. We especially commend the little tete a tete set,
done in gold bands and medallions of green, which encloses
a small pink flower.

Mrs. Alice Eycke, Anderson, Ind., showed a chocolate set,
done in a curious arrangement of medallions, accenting the
Chinese form of decoration, by using quite a quantity of black.
She has shown great good taste in using this rather dangerous
combination.

Miss Belle Fitzgerald, Mexico, Mo., showed her talent
for portraiture in a little French medallion of Marie Antoinette
and one of her mother. One shows the ideal and the other
the real, but both are very charming.

SATSUMA VASE

The Satsuma ware appears the strongest in the whole
scheme of decoration, possibly because there is a sympathy
between the body of the ware and its creamy soft glaze and
the enamels that the hard highly glazed china does not permit.
Also, the staining of the crackle gives a possibility of a har-
monious tinting being added which adds a subtle value to the
color schemes.

The first prize of the Satsuma class was awarded to Mrs.
A. A. Frazee and is a triumph of designing and decoration,
the general motif being lines of gold with bunches of leaves
and blossoms forming a medallion border toward the top.
A clever arrangement of pointed blooms terminating in triple
leaf forms finishes the base of this artist’s production. It is
colored in richest tones of blue-green, earth-red, and all the
variations of creamy-white enamels. A dotted background
adds lighting to the creation. Such pieces as this are triumphs

KERAMIC STUDIO {23

776 Bon Bon—Miss Jessie W. Shaw. 959 Plate—Miss Margaret Mahoney.

793 Rose Bowl, 792—Mrs. W. J. Davenport. 979 Plate—Mrs. John Franklin Butler.

965 Bon Bon, 851, 964, 968, 967—Mrs. Le Roy T. Steward. 925 Candlestick—Miss Clara S. Scott.

933 Bon Bon, 934, 932—Miss Anna Lane Loucks. 848—Mliss Marguerite M. Yeoman (First Prize).

BURLEY EXHIBITION

$24 KERAMIC STUDIO

827, 828, 831, Plates. 832 Vase. 833 Bowl (First Prize). 834 Sugar and Creamer—IR. E. CHALLINOR

EXHIBITORS OF DESIGNS ON OPPOSITE PAGE

839 Chop Dish—Mliss Elfen Lovereen. 821 Plate—Miss Cora M. Webster.

949 Tea Pot—Mrs. S. W. Sexton. 938 Cream Soup and Plate—Mrs. Geo. E. Emmons,
836 Bowl—Mrs. Mary B. Price. 943 Plate—Mrs. W. G. Payette.

778 Bowl—Mliss Jessie W. Shaw. 961 Plate—Mrs. Kissinger.

982 Tea Caddy—Mts. L. C. Butcher. 882 Bon Bon.—Mrrs. R. A. Jones.

940 Bow!—Miss Florence McCray. 1043, 1044 Plates—Mrs. Scott Jones.

958 Button Box—Miss Margaret L. Mahoney. 860 Bon Bon—Mrs. Ralph R. Park.

916 Box—Mliss Lydia Stuenkel. 817 Chop Dish—Miss Harriet M. La Bryn.

761, 762, 763, 764 Tea Set—Mrs. Alice Eycke. 826 Bon Bon—Mrs. J. B. Emison.

772 Vaes—Mts. A, E. Hales. 864 Salad—Miss Elsa S. Horner.

765 Sandwith Tray—Mliss Laura Draper. 922 Chop Dish—Mts. E. S, Shanklin.

805 Bowl—Miss Marie Witwer.

THE BURLEY EXHIBITION

KERAMIC STUDIO $25

THE BURLEY EXHIBITION (See opposite page for exhibitors)

KERAMIC STUDIO

895 Cake Plate—Mrs, Lydia Hadden (Second Prize).
806 Jug—M. Etta Beede (Honorable Mention).
766 Chop Plate—Miss Bessie L. Hill (First Prize),

of the decorators’ art, and have the added merit of being not
only original, but absolutely American in decoration.

A tall very imposing rose jar with cover is an all-over
pattern of peony flowers and leaves in rose colors, smoke and
white. This jar is very decorative and original, in pattern,
although it has a feeling of Japanese study clinging to it. It
is well handled and deserves the reward of Second Prize placed
upon it by the jury, and is the work of Mrs. Anna Senge.

The third award was placed upon a nut bow! that has a
lively colored border of considerable width adorning the in-
terior, with a narrower one as a finish on the outside. The
colors are rich and varied. The background is formed of gold
dots, and bands of gold further accent this piece, which was
painted by Mrs. A. M. H. Dutcher, now of Lincoln, Neb.

Mrs. Kissinger received Honorable Mention on a bowl
of square corners and flowing shape, The motif is well-worked
out in pink sweet peas, their tendrils making geometrical
forms that are clever. The background has accents of black,
making a rich decoration.

An excellently well-designed vase of geometric pattern,
forming a series of rounded ovals, interupted by more delicate
masses of line until it reaches the top, where it alternately
surrounds circular medallions of color and enamels with a large
odd shaped blue blossom. All the geometrical lines are in

914 Luncheon Set—Mrs. Louise Rees (Honorable Mention).
862 Plate—Mrs. A. Berglund (Honorable Mention).
825 Plate—M ts. J. B. Emison (Third Prize).

burnished gold. Here and there an accent is given by the
introduction of a dark blue in the background. This is from
the hand of Miss Helga M. Peterson and received Honorable
Mention.

Mrs. Emma Hutchinson of Michigan City took an Hon-
orable Mention on a medium sized vase with heavy gold geo-
metrics forming oblong medallions that are inlaid with delicate
blue grey daisy like color forms with smaller flowers that are
in lighter accents. Between the gold lines are deep blue forms
to fill the spaces around the neck, altogether a very successful
creation.

CONVENTIONAL CLASS

Seldom do we meet anything in etched gold done by an
amateur worker that is at all successful. The First Prize of
Conventional Work went to Miss Bessie L. Hill of Huron,
S. D. This chop platter richly deserves this award, not
only because the work is so good, but because the design is
practical and interesting and well thought out. Geometrical
forms project into the center of the plate and are held together
by well considered points of several lines each. On a mat
gold ground shining forth are small floral sprays in burnished
gold, and medallion in the center is also interesting. One
thing might be improved upon, and that is the cireular forms
are rather of a type not altogether true, but this minor

KERAMIC

885 Vase—Miss Emma Hutchinson.
852 Vase—Mliss Helga M. Peterson (Honorable Mention, Satsuma).
906 Vase—Mrs. A. A. Frazee, (First Prize Satsuma).

defect is entirely off-set by the artistic handling and concep-
tion as a whole.

Cake plate in grey, tinted leaves and berries on a white
ground held in fine relationship by the most delicate green
banding. There is great precision, as well as dainty hand-
ling. We commend its exquisite technique, and for a table
in white, the restrained color scheme is highly successful. This
is from the studio of Mrs. Lydia Hadden and was awarded
the Second Prize in the Conventional Class.

Mrs. J. B. Emison’s dinner plate was so excellent that
while it is only one piece of a set, it obtained a Third Prize.
One of the practical and most interesting characteristics of
this plate is its snap and its style, an interior border of color,
the long bands going toward the shoulder. "

Mrs. A. Berglund’s card tray obtained an Honorable
Mention. It is a very simple set of geometrical lines enclos-
ing flowers in white and cream with green leaves in and around
them. The strongest part of the pattern is its very conven-
tional center with accents of gold and its bands of pink cov-
ered with latticed gold lines.

Mrs. Berglund had a very snappy Satsuma cylindrical

STUDIO Ley

865 Vase—WMirs. Anna Senge (Second Prize, Satsuma),
960 Bowl—Mrs. Kissinger (Honorable Mention).
1036 Bowl—Mrs. Dutcher (Third Prize, Satsuma).

vase with a geometric border top and bottom, three richly
colored flower medallions on body to carry the color of borders.

Miss Etta Beede of Minneapolis has already been a prize
winner at these exhibitions. This time she received an Hon-
orable Mention on a very charming pitcher.

We note a luncheon set in most fascinating colors, the
range of blues being particularly noteworthy. The large
tray has a floral design, but, unfortunately, it does not alto-
gether fit the space to be decorated. However, the defining
of varying forms from flat to upright has been cleverly under-
taken. This set came from among the group of Art Institute
pupils and belongs to Mrs. Louise Rees who received Honor-
able Mention.

NATURALISTIC CLASS

The First Prize was awarded to Miss Margaret Yeoman.
The object was a tall vase of delicate grey background, dec-
orated with varicolored pansies. A most decorative effect
has been obtained by accenting with the light yellow pansy,
the heavy bunches of rich, dark colored leaves spreading into
the background, helping to hold these masses in their proper

KERAMIC STUDIO

833—Mr. E. Challinor (Second Prize).

926—Miss Glennie Moseley (Third Prize).

957—Mr. E. J. Mulvaney (Honorable Mention).
783—Miss Florence M. Woods (Honorable Mention),
942—Miss Edna Wyans (Honorable Mention).

963 Tobacco Jar—Maximilian Decker.

1045 Cup and Saucer—Devoe & Reynolds Co.

NATURALISTIC DESIGNS

853 Sandwich Tray—Mliss Grace C. Gale.

822 Jug—Miss Isabelle Adams.

$052 Chocolate Pot—The Varney China Shop,
1036 Bowl—M rs. Dutcher (Third Prize, Satsuma).
749 Tea Set—Miss Ione L. Wheeler.

980 Dresser Set—Mrs. Laura A. Tripp.

THE BURLEY EXHIBITION

KERAMIC STUDIO

relationship, the general colors running the range of lilac
and purples to the more shadowy effects at the base.

The Second Prize in this class was given to Mr. E. Challi-
nor on a bowl decorated with a blue landscape in mat color.
The trees and vines in this all-over theme are in the deep shades
of blue. The title is‘““The Walled Garden” andit is very charm-
ing. While a certain amount of style may be obtained by
its gold lining, it would have been more successful to have
some light, some color to show as a band only, on the inside
with a little gold for lighting.

Miss Glennie Moseley of Birmingham, Ala., captured
the Third Prize with a large Punch Bowl done entirely in reds,
with a retirimg border of large red roses. Naturalistically
painted, the monotone color scheme helps to subdue the red
decoration as a whole. .

BITTERSWEET MOTIF—FLORENCE R. WEISSKOPF

nodding in the breeze.

$29

Miss Florence Wood of Kane, Pa., obtained Honorable
Mention on a cake plate with rose decoration very delicately
painted, the roses and their Autumn tinged leaves being
placed on one side of the plate. A dainty banding opposite
the roses completes the ornament.

Honorable Mention was given to Miss Edna Wynans,
Aurora, Ill., on a chocolate set. Background tone over brown
to lavender blue, with an upright spray of goldenrod handled
so carefully, that one of the long sprays almost appears to be
This set as a whole is particularly
decorative.

Mr. E. J. Mulvaney shows a bowl well painted with heavy
bunches of grapes in Autumn tones. The handling is full of
color and spirit and certainly deserves the Honorable Mention
accorded it.

(Treatment page 132)

130

BORDERS OF BITTERSWEET (Page 131)

Florence R. Weisskopf

UMBER 1. Outline with Dark Grey and a little Dark

Brown. Second fire—Oil berries and dust with 3 parts
Cameo, 1 part Blood Red. Oil caps and dust with 2 parts
Deep Ivory and 1 part Yellow Brown. Oil stems and light
parts of leaves and dust with Florentine Green and a little Dark
Ivory. Oil dark part of leaves and dust with Water Lily Green
and a little Dark Grey.

Second fire—Oil dark background and dust with Glaze for
Green and a touch of Deep Ivory. Oil light background and
dust with 1 part Pearl Grey and 1 part Yellow for Dusting.

No. 2. The outline, dark circles and dark lower band are
Roman Gold. Berries are oiled and dusted with 3 parts Cameo,
1 part Blood Red. Capsare oiled and dusted with 2 parts Deep
Ivory and 1 part Yellow Brown. Stems and light leaves are
equal parts of Florentine Green and Ivory Glaze. Dark leaves

are oiled and dusted with Florentine Green and a little Deep
Ivory. No background is needed, but if desired, oil and dust

KERAMIC STUDIO

with 2 parts Pearl Grey, 1 part lvory Glaze and 1 part Deep Ivory.

No. 3—All darkest tones and the outline are Green Gold.
Oil large part of berry and dust with Coffee Brown, and the
lower part is dusted with Deep Ivory and a little Blood Red.
Light part of leaves and the light band are oiled and dusted
Dove Grey, and the dark part of leaf is oiled and dusted with
Florentine Green and a little Deep Ivory.

No. 4—Outline berry with Green Gold and paint all of the
remainder of the design with the Gold.

Second fire—Oil dark part of caps of berries and the berry
and dust with Coffee Brown and a little Yellow Red. Oil light
part of caps and dust with 2 parts Ivory Glaze, 114 part Albert
Yellow and a touch of Brown Green.

No. 5—Outline with Banding Blue and a little Dark Grey.
The dark part of design is Gold.

Second fire—Oil dark part of leaves and stems and dust
with 1 part Grey Blue, 1 part Ivory Glaze. Oil light part of
leaf and dust with Glaze for Blue. Oil berries and dust with
2 parts Cameo and 1 part Peach Blossom. Retouch Gold.

PUNCH BOWL, BITTERSWEET MOTIF—FLORENCE R. WEISSKOPF

IL berries and dust with Blood Red and a touch of Dark
Brown and Yellow Brown. The oil should be applied

very thin. Oil caps of berries and dust with Yellow Brown and
a little Dark Grey. Oil stems and leaves, and dust with2 parts
Dark Grey, 1 part Dark Brown and a little Yellow Brown. Oil
border at top and bottom of bowl and dust with 1 part Dark
Grey, 1 part Dark Brown and 2 parts Pearl Grey and a little

Yellow Brown, clean out the space where the dark line is in
leaves and berries if an outline is not used.

Second fire.—Oil space back of design and dust with 1 part
Grey Blue, 1 part Ivory Glaze, 1 part Pearl Grey. Oil remain-
der of bowl and dust with 3 parts Pearl Grey, 4% part Dark
Grey, 14 part Yellow Brown. Paint the line in leaves and ber-
ries with Dark Grey and Dark Brown.

KERAMIC STUDIO 13

BORDERS, BITTER-SWEEI—FLORENCE R. WEISSKOPF (Treatment page 130)

132

BITTERSWEET MOTIF (Page {29)
Florence R. Weisskopf

IL berries and dust with Blood Red, a little Yellow Red

and a touch of Ruby. Oil caps of berries and dust with

Peach Blossom and a little YellowBrown. Oil light leaves and

dust with 2 parts Ivory Glaze, 1 part Florentine Green and a

little Deep Ivory. Oil dark leaves and dust with Florentine

Green and a little Deep Ivory. Background is oiled for the

second fire and dusted with Pearl Grey and a little Yellow Brown
and Dark Grey.

BITTERSWEET MOTIFS (Page 133)

Florence R. Weisskopf
ANELS—Oil light berries and dust with Glaze for Blue.
Oil dark berries and stems and dark leaves and dust with
Water Blue. Oil light leaves and dust with 2 parts Bright
Green, 1 part Pearl Grey. Oil background and dust with 3
parts Pearl Grey, 1 part Dark Grey and a little Apple Green.
Three round motifs—Outline and the darkest tone in Gold.

KERAMIC STUDIO

Medium grey tone is oiled and dusted with Florentine Green.
Light grey tone is oiled and dusted with Grey Blue.

Two long upright motifs to the left—Outline and berries
in Gold. Grey tone is oiled and dusted with either Glaze for
Green or Water Green. The entire design in the first figure
to the right is Gold and berries are outlined in Gold and painted
with Brown Lustre.

Three berry motifs at bottom—Oil the dark tone and dust
with 2 parts Florentine Green, 1 part Bright Green. Oil
light tone and dust with Deep Ivory.

er
STUDIO NOTE

Miss Willy Levin, specialist in ceramics at the Debschitz
school and factory at Munich, has entered the faculty of the
Modern Art School, Washington Square, New York. Miss
Levin was compelled to give up teaching abroad on account
of the war. Reproductions of her work have appeared in
“Dekorative Kuntz’ and her pottery was exhibited in the
Werkbundaustellung.

BITTERSWEET MOTIF—FLORENCE R. WEISSKOPF

UTLINE with Yellow Brown and Dark Grey. Second
Fire—Oil leaves and dust with Florentine Green. Oil
berries and dust with Yellow for Dusting. Oil outside band
and dust with 1 part Dark Grey, 1 part Pearl Grey and 1 part

Yellow Brown. Oil center and dust with Pearl Grey and a
little Albert Yellow. Oil background back of design and dust
with 1 part Dark Grey, 2 parts Pearl Grey, 4 part Apple
Green.

KERAMIC STUDIO 133

CONVENTIONAL NARCISSUS—-FLORENCE R» WEISSKOPF BITTERSWEET MOTIFS—FLORENCE R. WEISSKOPF

134

(Continued from page 119)

The pupil who comes to a studio prepared to do her own
work and at a rate sufficiently snail-like to insure accuracy,
is such a surprise that the teacher feels much as a horse might
if he suddenly found that the wagon he had been pulling at a
brisk trot, was perfectly willing to detach itself and proceed
on its own locomotion.

Pupils begin to sell their work too early. Again the
teacher is partly to blame. She encourages this because she
knows it means more lessons for her to give. It is also good
advertising. Pupils have been known to sell work (which
the public purchased through blind reverence for anything
“hand-made’”’) after one month of experience. In what other
branch of art could this occur? Is it any wonder people say
“Oh” to us, and accuse us of superficiality?

Now as to study. How many keramic students keep a
note-book? How many have read a single book on design?
How many have inquired into the rules that underlie all art?
How many could give off-hand the meaning of design, color
harmony, balance, symmetry, etc.? How many can tell at a

KERAMIC STUDIO

glance an appropriate design for a bowl, a box, a vase? How
many can tell why a design is inappropriate? How many
make a practise of attending keramic exhibitions? How many
subscribe to an art or crafts magazine? How many are mem-
bers of keramic clubs?

I should say one in every class of six. Could this condi-
tion exist in a portrait class, a sculpture class, a pottery class?
And it is a poverty-stricken public-library indeed that does
not give you at least two interesting books on Design or Decor-
ative Art. Every keramic pupil should have been compelled
to read Mrs. Paist’s course of design which has been appear-
ing in the Keramic Studio for months. I wonder how many
teachers have read it? Most of us are too busy making money
to spend much time on the literature of china-painting. We
take the short road to our goal forgetting that the longer road
yields the richer experience.

‘What we need to elevate our chosen art, to make it a real
art, a recognized art, is less hurry, more seriousness, greater
thoroughness, and a deeper faith in its ideals and its future.

CUP AND SAUCER—ALBERT W. HECKMAN

This design is to be carried out in Silver and Green Gold on Sedji ware.
For the small square spot use a bit of bright Green or Blue Enamel and for

ornament.

Use Silver for the broad band and big square form in

all the other parts of the design use Green Gold.

The Bargain List Advertised

in the December Keramic!

We have decided to offer for a short time, the following
studies of which we have a surplus, from Catalogue ‘‘F’”’

Catalogue F

Page

Elder Blossoms—Marshal Fry.......0.0000000000000cccccecccecccceeeeeeeeseeese 20
Wild Carrots—M. M. Mason... 00000 oc ccccccececseeeereeeeees 21
Peacock Study—F. H. Rhead.....2. oo ccccccteeereeviee 23
Some Color Schemes and their Application—Hugo Froelich... 24
Scarlet Bean—Leta Horlocker......00.00.0.00000000ccccccccecececceeeees 26

Birds for Tile Decoration—Edith Alma Ross..................0..0....... 26

Poppies—M. M. Mason ..................ceeecceeteceteee rie eeeeecceteeees 29
"DR ysed RST NS) 8 EY eR ee 33
CLA oe EAT AG a5] [Ta le Oem 33
Plums—T. MeLennan-Hinman........0.000.00..00 ects 34
Marigolds—Laura B. Overly .......0..0...0..00-cccccccccescestessessteeesceseeees 35
Zinnias—Mary Overbeck 0.0.0.0... cece eeeteteeereeseeseteeeees 36
OT Ses) boon ETTE2 SC ae be ake a eer VS A 37
Poppy and Hawthorn Blossoms—H. B. Paist.........00.00.0.0.0000.. 38
OV ClAMON——PS RUIZ ory ten ele vce ais ye ode uintuvatenn than beer eupastyensed 39

WAGES Vice SAISON ate eat ers esterase |S cteaod Ree 41

Sweet Peas—T. McLennan-Hinman .............0.00..0000ce ee 42
Anemone—A. Alsop-Robineaw .........0..0..00000..00ccicteeeeereeenes 44
eallsalinty= Os Foley xo str. Sescage sae eno odyee Shaders 46
Jack in the Pulpit—N. Beyer .........0...0.0..0:::0cccese teers 46
Hydrangea—M. M. Mason... ccc 47
Texas Wild Flowers—A. Domaldson.....0.00....00.00000.00cccccces 47
TOMS HOURS Ae. Ee HIZ A ca erties Gas. coe tlio i eG a 48

Cotton Ace Donaldson carr nee tice copes lemeaeriss 15

These will be sold postpaid at 75 cts. a dozen with treatment,
until further notice. This notice will be sudden so send your
order now. No order taken for less than one dozen.

KERAMIC STUDIO PUBLISHING CO., SYRACUSE, N. Y.

NOW ON SALE

Bound Copies of Vols. 14, 15, 16,

“K eramic Studio,” in Heavy Green

Buckram, $5.50 post paid.

Vol. 16 (May 1914, to April 1915) just put on sale.

Bound Copies of Vols. 11, 12, 13,
- $4.50, post paid.

KERAMIC STUDIO PUB. CO.

Advertising copy for the February number of this magazine

should be in our hands the FIRST OF JANUARY
: KERAMIC STUDIO PUB. CO.

SPECIAL JANUARY PRICES

are given on all Art Material with few exceptions.
Complete cataleg of Art Material No. 162K sent on request.

ALL IMPORTED GERMAN AND FRENCH WATER COLOR
BOX OUTFITS AT HALF PRICE. :

Get the best The “Arto” Self Centering Banding Wheel.
JANUARY PRICE $9.00

A. H. ABBOTT & CO. 119-121 North Wabash Ave., Chicago
CHRISTMAS COMBINATIONS

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With “Something to Do” - = = $4.60
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Or will give you quotation on any Combination wanted.

Keramic Studio Publishing Co., Syracuse, N. Y.

aes Hass No. 2
4 Flower Painting
eesin Fe: On Porcelain
ag3

COrvRiGHTED twe
‘KERAMIC STUDIO PUBLISHING Gy
SYRACUSE NEW YORE

L Pe ||

Um ay CeCe |
eee tnectet ge 8 Ree M irate ee
The Class Room Books

No. 1 The Art of Teaching'}China Decoration......$3.00 postpaid
No. 2. Flower Painting’on Porcelain......................-. 3.005
No. 3. Figure Painting on Porcelain and Firing... 3.00 “
No. 4 The Conventional Decoration of Porcelain

Bite GLASS) tia Ch ob cov Cah pes tee ie 3:00. -*2%
Four books for $10.50. Two books and subscription to Keramic Studio, $9.00

KERAMIC STUDIO PUBLISHING CO.,
SYRACUSE, N. Y.

When writing to advertisers please mention this magazine

ASK ABOUT oie
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CONTRIBUTORS

MAY B. HOELSCHER
M. C, MC CORMICK
FLORENCE R. MILTON
rane BARCLAY ‘PAIST

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The entire contents of this Magazine are covered by the general copyright and the articles must not be reprinted without special permission

CONTENTS OF FEBRUARY, 1916

; Page
Editorial 135
Chicago Ceramic Art Association - 138
Water Pitcher, Iris Motif Leah H. Rodman Soe
Design for Dinner Set Florence R. Milton 5 $40, 141
Philadelphia Exhibit t : 143
Exhibit of Miss Mary Best, Fargo, North Dakota 143
Vase, Flying Bird Motif . Henrietta Barclay Paist - $44, 145
Dutch Boy and Girl Ls JB: 145
Larkspur - Hazeltine Fewsmith 146, 147
Marmalade Jar Elma S. Ritter 148
Tile, Formal Garden Motif M. L. Brigham 149
Answers to Correspondents 149
Salad Plate and Cup and Saucer May B. Hoelscher 150
NATURALISTIC SECTION
Cranesbilf M. H. Watkeys 1
Bird Vase (Supplement) Katherine Lindsay Perkins if
Sumach . _ M.H. Watkeys I
Brush and Comb Tray, Wild Roses M. C. McCormick 2
Mountain Laurel M. H. Watkeys 3
Bouncing Bet M. A. Yeich 4.5
Wild Clematis M. H. Watkeys 6
Bleeding Heart M. H. Watkeys 7
Wild Columbine M. H. Watkeys 8
8

Cup and Saucer, Shaker and Creamer (Supplement) Albert W. Heckman

THE OLD RELIABLE ‘87-196 FITCH KILNS

The thousands of these Kifns in use testify to
their Good Qualities

THE ORIGINAL PORTABLE KILN

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

The only fuels which give perfect results in
Glaze and Color Tone

Size 10 x 12 in.

No. 2 Size 14x $2 im.........$30.00
No.2 Size 16x 12 in.
No. 3 Size [6x [9 in. Charcoal Kila 4 sizes ence ota

WRITE FOR DISCOUNTS. No. 4. Size 18 x 26 tne 50.00

STEARNS, FITCH & CO., : SPRINGFIELD, OHIO

Gas Kita 2 ates

SYRACUSE, NEW YORK

February 1916

herewith print a letter just received

and ask those of our readers who
are inspired by it, either for or against,
to write us an answer. We will
give to the best letter a prize of
six months subscription to Keramic
Studio. The interesting part of this
letter is that the writer is not a be-
ginner, and has evidently studied
conscienciously in school and studios.
Homes she remains unable to see any beauty in conven-
tional work:

A recent copy of the Studio fell into my hands lately, and Iam so pleased
with the Naturalistic Supplement idea that I herewith hand you my subs-
scription for one year, beginning, if you please, with the December number.
I am glad you are giving some space to the naturalistic. It is only fair to
the many to whom the conventional does not, and never will appeal.

i “Have you ever looked at an Aubrey Beardsley drawing and felt an
absolute repulsion creeping over you? You know the ‘spotting’ is exactly
right, that rythm, and balance, and everything that goes to make up a per-
fect, design is there, and yet you hate it—that is the way conventional has
always affected me. When a child at school, design was taught in the draw-
ing course all through the grades; and while I received good marks, and was
always among those selected to decorate the blackboards, it went against
the grain to do it. When I reached high school and was allowed to draw
from casts and objects, and, later in life, when I painted in a life class and
worked hard but joyfully over construction, values, and color, I understood
then the rebellion that filled me in my younger days. The love of nature
and of natural forms and color is so strong in some that the distorted, un-
natural conventional shapes are as disturbing and irritating as a cubist por-
trait of a dearly loved face would be.

“Mor anything that comes as close to the eye as table china, it does not
seem to me wrong to use naturalistic decorations, amy more than if is wrong
to paint figures or flowers on a fan—not gaudy bunches of flowers, sprawling
all over the dish, but small groups and bands of rather flatly pamted posies,
but with their own beautiful lines and in their own beautiful colorings. I
would like to see what Mrs. Paist (a china painter who can actually draw)
would do along this line.

“Thanking you for your kind (though perhaps wearied) attention, and
insisting again that I am glad you did it.

ARG)?

ie)

“Sincerely yours, V. P. 8.”

We have asked our readers for helpful criticism in order
that we may make Keramic Studio more valuable to its read-
ers. So far, we have had but one suggestion, to the effect
that some of the designs we publish are very poor. This we
must admit to be true but unfortunately it is a fact difficult
to change for several reasons. There are in every issue one
or more poor designs—surely—but good ones too. Every
designer with every degree of artistic taste in design gets her four
dollars worth many times over in a year even if she can use only
a small proportion of the designs published. A good teacher
gets one dollar each in a class of ten or over—at least that much
foran hour’s private lesson. Who can say that twelve issues
of Keramic Studio are not worth to them at least twelve such
lessons? For her own artistic self respect, the editor would
prefer to publish only the really good designs, but she has to
keep in mind the saying of one of our best teachers of design
“vou must keep in towch with the beginners, if they get some-
thing they really understand or are able to grasp and like, at
the same time showing better things, you may be able to take
them by the hand and lead them higher, step by step. But
if you go too far over their heads, if it is all Greek to them,
they will shut their hearts and minds to you and turn away.”

A friend suggests that the editor should go over those poor
designs, herself, before publishing, and correct the worst faults.
Apart from the value of the editor’s time when taken from
her legitimate work, time only too limited to do the work she
has to do, she knows nothing practically in the first place
about naturalistic designing and, in the second place, there
would be a great outcry from the originators, if anyone tam-
pered with their designs. It is as if any one should twist the
nose of your baby or alter the position of its limbs. And the
curious thing is that the designs which the editor considers
the poorest, very often prove the most popular, so it is by these
stepping stones that we mount the ladder of art.

Plato held that in art as in everything else there is “from
all eternity, an absolute pattern laid up in the heavens.”
We are all of us channels, more or less obstructed, through
which flows the mind and soul of the infnite. The test of
the unobstructed passage of an eternal thought is in its im-
mediate acceptance by all, though thoroughly appreciated
only by the few. By this test, we can gauge our success in
art. If it is a true rendering of that pattern eternal in the
heavens, the great mass of people must feel that it is beautiful
even though they do not understand why. The reason why
so many fail to appreciate the truths expressed by abstract
or decorative design, is that the demonstrator has failed to get
the absolute pattern. The truths expressed by naturalistic
design are drawn from the seen instead of from the unseen—
from the natural image instead of from the eternal mind. It
is. easier for a child in art to appreciate the naturalistic for
this reason, as all children must grasp first the concrete,
afterward the abstract. So Keramic Studio must continue
to publish all sorts and conditions of designs—must be “all
things to all men’’—cater to all tastes—and must ask its read-
ers and good friends always to think of ‘the others” when they
find designs that do not appeal to them or in which they can
see glaring faults. If they will look with open minds they
will find even in the poorest design a bit of that absolute pat-
tern—for the editor does not publish designs that have no merit
whatever.

* *% %

We have received from Reusche & Co. a specimen mounted
moth in a neat pasteboard and glass case. ‘These are put up
with the idea of suggesting beautiful color combinations for
those who wish something new or different. It is a good idea
and a valuable one for those who can afford several specimens.

er i aes
EXHIBITION NOTES

There was in Denver an interesting exhibition of decorated
china in the week beginning December 6. The Gas Co. of
Denver which are selling a china kiln made in Denver, had
turned over the whole of their first floor display room to china
decorators and advertised the exhibition without charge or
expense to them. Hundreds of dollars worth of china were
sold and the event greatly increased the interest in and de-
mand for decorated china.

There was a large and attractive table of Coover Out-
lines and it was evident from this exhibition that the interest
in conventional decoration is developing considerably through-
out the West.

136 KERAMIC

CHICAGO CERAMIC ART ASSOCIATION

HE 28d Annual Exhibition of the Chicago Ceramic Art
Association was held during the month of October in
the Art Institute of Chicago.

The work showed the stimulating influence of the class
in constructive design which is conducted for club members
by Mrs. Edward L. Humphrey. Admirable fitness and re-
straint characterized the designs throughout—notably in the
tableware exhibit. The possibilities of the different wares
were well recognized;—the collection of Sedji showed clever
treatment, the more ornamental Satsuma was richly decorated,
and the beauty of line and surface characteristic of the Belleek
was given full value.

A departure from the usual work of the Club was a case
of pottery made and decorated by one of the members, the use
of copper luster and enamels giving a suggestion of an old-time
ware.

Miss M. Ellen Iglehart was awarded the Burley and Co.
Prize for the most appropriate design for tableware. Her

OLIVE M. JOHNSON
(A. H. Abbott Prize)

set showed an effective geometric border with an especially
clever adaptation on the handles, in three tones of gold with
accents of black. A Tile and a quaint Bowl of octagonal
shape, were decorated with baskets of flowers in bright-hued
enamels. As usual, Miss Iglehart’s pieces were distinguished
by beauty of coloring and execution.

Miss Olive M. Johnson, a new member, received the A.
H. Abbott Prize for the best individual exhibit, a group of
sixteen pieces strikingly original in design and treatment.
Her large Belleek Lamp-vase showed panels filled with compo-
sition flowers, held together by bands of geometric ornament
in rich colors. Another departure from the usual was a Sat-
suma Vase showing conventional baskets of multi-colored
flowers set in an allover geometric design. Other pieces
were a handled Satsuma Vase in rich blue, brown and black
enamels, a Tea-set and several Boxes.

Miss Maud Myers, of Aurora, was awarded the Hasburg
Gold Prize for her artistic use of gold on a large Sedji Tray.
This was an exceedingly attractive piece, the design being

STUDIO

Ione Wheeler Edith Bell
Maud Myers (Hasburg Gold Prize)
Anna VY. Cornish Mary E. Hipple

Anne T. Brown Isabelle C. Kissinger

Anne J. Brown

worked out in a satisfying combination of white gold with blue
green and dull orange enamels.

The F. B. Aulich Color Prize was taken by Mrs. Rena O.
Pettersen, for a Dresser-set of exquisite coloring, soft salmon-
pink, grey-green, and ivory. The set showed a border with
flower-motif, and an allover spot-design. Among other
good things Mrs. Pettersen exhibited a Satsuma Nut-set in
lavender, ruby and pale yellow enamels with gold, a large
Vase with green and gold orchid design, and a cabinet Teapot
in shades of pink and crimson purple.

ISABELLE C, KISSINGER

KERAMIC STUDIO

Mrs. Anne T. Brown received Honorable Mention for her
Dinner-set, which had a simple decoration in green and gold,
a refined and very usable design, beautifully executed. A
Satsuma Box in blue, orange and black enamel, and a Vase
with decoration of rich crimson berries with grey-green leaves
were other good pieces.

The President, Mrs. Isabelle C. Kissinger, made a con-
tribution strong as to number, design and workmanship. A
faience Porch Set with large tray, was a striking note in the
tableware case, on account of its quaintness of shape, and the
charm of the decoration. Among other noticeable pieces
was a Breakfast Set with a simple, well-proportioned design
in blue enamel, which suggested at once a joy in ownership.
Mrs. Kissinger’s Pottery was good in form, decorated in ena-
mels in rich blues, greens, orange and dull crimson, with a
background of copper luster.

Miss Ione Wheeler, widely known for her luster-work,
this year exhibited a Dresser-set with a violet motif, in grey-
green, violet and warm ivory. It was strong both in design
and color.

-|_ Miss Mary E. Hipple, of Elgin, sent her usual large con-
tribution of well-designed pieces, interesting for their color-
values and variety of treatment. Her most striking piece

oh
ki

Py
a
i
S
\

Amanda E. Edwards
Anna J. Cornish
M. Elfen Igiehart (Burley & Co. Prize)

137

Myrtle E. Lidberg
Marguerite J. Rood
Rena O. Pettersen (Aulich Prize)

MARY E. HIPPLE

138

was a large Belleek vase, decorated with enamels in rich orien-
tal blue, dull red and yellow, with background of green.,
showing a faint all-over spot design. Six Sedji Plates were
each different in design, but colored alike with blue and green
enamel. Other good pieces were a Belleek Pitcher in green
and dull orange, a Dresser-set in pastel colors and a Salt and
Pepper Set in black and gold.

One of the best Sedji pieces we have seen was a May-
onnaise-set by Mrs. Marguerite J. Rood, showing a clever
design, well colored, the enamels being particularly successful.
One of our visitors, a Japanese dealer, declared that this set
should be sent to Japan to show the results obtained in this
country, with colored enamels on Sedji. Mrs. Rood contri-
buted other interesting pieces, a large Vase with narcissus
design in enamels, and a white and silver Tea-set.

Miss Edith H. Bell also showed successful Sedji, a Vase
in greens, blues and dull orange enamel. A quaint combi-

KERAMIC STUDIO

nation Teapot, Sugar and Creamer in brown glazed ware:
was unusual in its dull red and blue enamel. A square Cookie-
plate with rose design was developed in several tones of yel-
low with green.

Mrs. Anna V. Cornish was represented by five Vases in
metals and lusters, good in design and delightful in color.

Mrs. Myrtle Lidberg showed a set of etched Plates hay-
ing a skillfully designed border with monogram medallion.

A round Tile, in silver and black, from the studio of Miss
Amanda EH. Edwards, was strikingly original in design, as
were also a successful Cup and Saucer in gold and enamel and
a Dresser-set in enamels.

The Club has been so fortunate as to secure Mrs. Hum-
phrey again for this year’s course in Design and Color, and a
large, light class-room has been offered by Burley and Co.
There is evidence of a renewal of interest in the work, and the
members are looking forward to an interesting study-course.

EDITH BELL
ISABELLE C, KISSINGER

MARY E, HIPPLE

ANNE J. BROWN AMANDE E. EDWARDS

M,. ELLEN IGLEHART

KERAMIC STUDIO

VASE (Page 144)
Henrietta Barclay Paist

HIS may be treated as monochrome in either Brown or
Grey. If in Brown use Satsuma or Neutral Yellow

for the body of vase and Finishing Brown and Neutral Yellow
for the other values, mixing the two for the middle and
lighter values and using the Finishing Brown pure or nearly
so for the darkest values. Begin by tinting the entire vase
with the Neutral Yellow or Satsuma and fire. Then trace on
the design, oil all the spaces when the color is flat, the spaces
for lighter values first, and dust with the powder colors which
have been previously mixed and tested. The bodies alone
of the birds are shaded. Follow the values as reproduced,
using the two colors, and for the last fire outline the abstract
design which supports the border and the birds, leaving the

139

clouds without outline. If the grey scheme is preferred fol-
low the treatment for chop plate in November issue for same
motif.

er ¢
NINTH ANNUAL EXHIBITION OF ARTS AND CRAFTS

HE Committee of Award of the National Arts Club

announce that the Life Membership Prize in the Na-

tional Arts Club has been awarded to Dorothea Warren
O’ Hara.

The decision of the Committee is based not only upon
the standard of Mrs.O’Hara’s work as shown in the present
and former Exhibitions of the Society, but upon a careful study
of her work as a whole and of what she has accomplished in
the development of her particular craft, Keramics

WATER PITCHER, IRIS MOTIF—LEAH H. RODMAN

Black part of design, Aztec Blue, with one-third Azure Glaze.’ Grey part of design, Banding Blue, bit of Black, one-third

Azure Glaze.

Light part of design Azure Glaze.

Bands and dots Black.

140 KERAMIC STUDIO

PLATE DESIGN—FLORENCE R. MILTON (See opposite page)

HIS design is in four sizes each adapted to the circle and vegetable dish.
straight band, viz.: smallest size, circle, jelly jar Outline with Black. Apple Green stems, leaves and
cover; straight, boullion cup. Next smallest, circle, boul- calyxofthe flower. The flower is Rose color and the circle band
lion plate; straight, jelly jar. Next largest, circle, vegetable around it and inside and outside bands of border are Gold.
dish cover;straight, salt shaker. Largest, circle, plate; straight,

KERAMIC STUDIO [4]

Jelly Jar and Cover
Vegetable Dish ana Cover
Salt Shaker |
Boullion Cup and Plate.

DESIGN FOR DINNER SET—FLORENCE R. MILTON (Treatment page 140)

[42

KERAMIC STUDIO

MRS. S. M. BAILEY

PHILADELPHIA EXHIBIT

HE Ceramic League of Philadelphia held its Ninth Annual

Exhibition in the Fuller Building, April 22 and 28, pre-

ceded by a private view for the members of the League and the
Press on April 21st.

This has been one of the Jargest and most successful Ex-
hibitions in the history of this organization; there was a great
variety of work, conventional, naturalistic, and a great deal of
enamel work.

Seven gold pieces and a Belleek tea set were given as prizes
and awarded as follows: the Ceramic League prize to Miss R.
M. Dowie, whose collection was varied and beautiful, including
many striking pieces of enamel in rich and beautiful colors,
displaying marked originality; a plate in Florentine design and
a vase with dancing figure in white enamel on a background
of black and gold being particularly good.

The Mitcheson Memorial prize for original conventional
work was awarded to M. E. Oakes for a tea set done in blue,
with Jack-in-the-Pulpit motif in green and Roman gold. Hon-
orable mention to Miss R. M. Dowie.

The Mitcheson Memorial prize for original naturalistic
Work was awarded to Mrs. A. B. Moulton for a plate done in
wild carrot blossoms.

The Mitcheson Memorial prize for general excellence was
taken by Miss A. M. Wenzelberger with a large vase done in
chrysanthemums. Honorable mention to Mrs. C. Worrel, Mrs.
F. J. Kohler and M. E. Oakes.

Another Mitcheson Memorial gold piece was awarded for
the best set to Miss E. A. Disston for a set of plates, rose dec-
oration. Honorable mention to Mrs. F. J. Kohler and Miss
Anna Bertha Otterbach.

The prize for best decoration on Lenox Belleek was award-
ed to Mrs. F. J. Kohler. Honorable mention to Mrs. J. A.
Bailey.

Two Coover prizes were won by M. E. Oakes and Mrs.
Mrs. William Clime, with honorable mention to Mrs. A. B.
Cobden.

Among the members of the League who displayed work
worthy of particular mention were Mrs. Walter Herring, whose
plates done in various flowers with acid etched borders to match
were gorgeous, and among the most admired pieces. A pitcher
in grapes and another in yellow poppies were by the same artist.

Miss Grace S. Martin showed among other things some
well executed pieces of Satsuma with delightful color schemes.
Miss A. B. Purple exhibited several beautiful vases, one in
lustre over gold, that was a symphony in purple green and gold.
Mrs. E. V. Kaseman had many dainty pieces and a large tile
painted with birds was particularly attractive. Mrs. Paul
Franklin Mowry exhibited a tea set done in blue enamel and
gold that was exquisite.

Mrs. Amy R. Stevenson’s most attractive piece was a vase
with peacock decoration in rich blue, matt green and lustre;
there was also a charming mayonnaise bowl with butterflies in
yellow enamel. Mrs. A. C. Heritage exhibited a punch bowl
with grapes, several tiles done in sepia, and a nut set. Mrs.
K. F. Congdon had some very good tiles and a fish set. Miss
Dorothy Gregory had many pieces that showed marked origi-
nality and strong color; a fruit set in green with semi-conven-
tional gooseberries was particularly good.

Mrs. C. F. James had a handsome punch bowl, a sardine
tray and many beautiful plates. Mrs. John Winthrop’s col-
lection contained a very attractive set of Paté cups and plates
with a conventional design in shades of coral and pale yellow
with black outlines. Mrs. Edwin A. Fitts exhibited a charm-
ing sugar and creamer in yellow lustre and gold with turquoise
enamel, an earthenware jug with design of cherries, a fern dish

MISS GRACE S, MARTIN

KERAMIC STUDIO 143

MR. K. F. CONDON MRS. C. F. JAMES

and several other pieces in conventional designs. Miss M. A.
Frick had a large tankard and several trays decorated with
fruit.

In order to ascertain what would appeal to the popular

taste, every visitor to the exhibition was privileged to vote for MRS. WM. CLINE MRS. A. C, HERITAGE
their favorite pieces; a tea set elaborately decorated in etched
gold by Mrs. F. J. Kohler won the popular vote. PHILADELPHIA EXHIBIT

Nore.—We regret that we were unable to reproduce the other illustrations
but the photographs were not clear enough.—[Ep.]

MISS MARY BEST, FARGO, N. DAKOTA

144 KERAMIC STUDIO

VASE, FLYING BIRD MOTIF—HENRIETTA BARCLAY PAIST (Treatment page 139)

KERAMIC STUDIO £45

TOP OF VASE, FULL SIZE, FLYING BIRD MOTIF—HENRIETTA BARCLAY PAIST

DUTCH BOY AND GIRL—L. J. B. (Treatment page 148)

146 KERAMIC STUDIO

LARKSPUR MOTIFS—HAZELTINE FEWSMITH

| iene are outlined with Dark Grey and Copenhagen low and a little Yellow Green. Buds are Copenhagen Blue
Blue and painted with Deep Blue Green and a little and a little Yellow Green. Background is Pearl Grey and a

Copenhagen Blue and shaded with Copenhagen Blue and a_ little Albert Yellow and a touch of Yellow Green.

little Violet. Leaves and stems are Apple Green, Albert Yel-

147

KERAMIC STUDIO

LARKKOFUR

Hazeltine Fewsmith

LARKSPUR—HAZELTINE FEWSMITH

148

DESIGN WITH DUTCH BOY (Page {44)
Brae ales

IL windmill and all dark spaces in the background and
dust with Water Green No. 2. Oil the boy’s trousers
and the dark markings on waist and face and dust with Water

Blue. Oil the path and dust with 1 Bright Green and 1 Ivory
Glaze. Oil the boy’s waist and dust with 1 Grey Blue, 1 Ivory
Glaze. Oil the cap, shoes and light part of doorway and dust

with Coffee Brown. Oil the sky and dust with Glaze for

Green. Paint a very thin wash of Yellow Brown and Dark
Grey over the face.

e 8
DESIGN WITH DUTCH GIRL (Page 144)
1 Bis [ool

IL lower part of windmill and the dark foreground lead-

ing from it, also the strip of land in the water, and dust

with Water Lily Green. Oil the top and arms of the wind-

mill and dust with Bright Green. Oil the distant windmill

KERAMIC

STUDIO

and landscape with a very thin application of oil and dust
with Mode. Oil the dark part of girl’s dress and dust with
Deep Ivory. Oil her hair and dust with 1 part Deep Ivory
and 1 part Ivory Glaze. Oil the dark figure in the cap and
dust with Yellow Brown and a little Yellow Red. Oil the
cap and light part of dress and dust with Yellow for Dusting.
Oil the clouds and fence and dust with Cameo and the path
with Cameo and a little Pearl Grey. The water and sky are
dusted with Pearl Grey and a little Sea Green or Turquoise
Blue. Paint a thin wash of Yellow Brown and Dark Grey
over the face and arms.

K
MARMALADE JAR
Elma S. Ritter

OR the leaves and stems and all spaces indicated by

black on both jar and saucer, use Brown; for the flowers

a Light Blue or Yellow. All single lines are Black, and use
Black for the center and outline of leaves and flowers.

MARMALADE JAR—ELMA S. RITTER

KERAMIC STUDIO

[49

TILE, FORMAL GARDEN MOTIF—M. L. BRIGHAM

Design for Gold or Silver and one color.

ANSWERS TO CORRESPONDENTS

C—I understand how to put matt on a vase but does this differ from “dusting?

No it does not if you have been applying oil and brushing the dry color
over the oil.

C.J. M.—Will you please give the required proportions for a medium
which uses Oil of cloves and Balsam Copaiba?

Some people use 5 parts Copaiba and 1 of cloves but a better one is 4 parts
Copaiba, 1 cloves and 2 Garden Lavender Oil.

M.I.S—I have been having considerable trouble trying to use matt colors
on china. I wanted a light cream so mixed Ivory and white and ground them
about a half hour but found the longer I ground them the darker they became and
after firing were a light brown. Before I began grinding everything was perfectly
clean.

I also find im using matt white it fires rather coarse and sometimes chips off.
Will you tell me just how to prepare matt colors?

What gold is used to secure the soft matt effect? I use Roman Gold but it is
rather bright when burnished.

Can see no reason for the dark color unless the Ivory was labelled wrong
and was a darker color.

Colors will chip off if used too heavy but if that is not the cause perhaps
the white is not fluxed enough, a little flux could be added to it.

The best way to use matt colors is to dust them on. If the color
seems coarse and grainy rub out the lumps with a palette knife or a glass
muller before dusting it on.

Perhaps you are referring to the Green Gold; it burnishes rather bright
but has a greenish cast which gives it the dull effect or you may possibly
mean a matt gold, the roman gold is a burnish gold The matt gold is not
being used now so you possibly refer to the Green Gold.

150

L, N. C.—Are stilts used to stack Satsuma for firing?

It is not safe as the ware is soft and the stilt is apt to take a piece out of
it. Use a small piece of platten for stacking.

A Subscriber— How should Seji ware be fired?

2. What made pimples come on the inside of a Seji ware bowl?

3. Should unfiuxed gold be used on it the same as Belleek?

4. What can a person get in white gold to use on Belleek? Can ordinary
white gold be used or must it be an unfluxed white?
What makes enamel rough and uneven?

Should Belleek china be stilted and why?

Can green gold, white gold and red gold be used over unfiuxed gold?

KERAMIC STUDIO

1. It can be fired quite a little hotter than Belleek but not as hot as the
French china, it requires the same fire as the Satsuma ware.

2. It may be caused by an over-fire but if your colors were not over-
fired then possibly it may have been in the ware.

3. It is not necessary to use unfluxed gold on it.

4. Use the regular white gold on Belleek and give it a light fire. it does
not over-fire as easily as the fluxed gold.

5. An under fire will make enamels rough if the unevenness is caused
in the fire, but if caused when puttingit on, it probably was not used thin enough
or you may not have used enough in your brush so it flows easily from it.

6. It is best to place large pieces of Belleek on stilts so the heat can
circulate all around it, the piece is not so liable to crack.

7. Yes, they can be used over the unfluxed gold.

SALAD PLATE AND CUP AND

IL leaves and the small circles in bands and dust with
Florentine Green. Oil the large figures in the bands

and dust with Deep Ivory and the dark part of it with Coffee
Brown. Outline around flowers and the bands are Green Gold.
Second Fire—Paint a thin wash of Albert Yellow over

SAUCER—MAY B. HOELSCHER

flowers and buds and paint centers of flowers with Yellow
Brown. A tint may be added in the long panels on the plate
and the plain panel on cup if desired. It should be oiled and
dusted with 2 parts Pearl Grey, 1 Ivory Glaze and a little
Albert Yellow. Retouch Gold in second fire.

KERAMIC STUDIO ; 151

, 712. CUP- ANP SAUCER, SHAKER AND CREAMER-ALBERT w. HECKMAN
eee gan eee R ‘ : Fig ; COPYRIGHT 1916
hy Si as toh aii . ‘See page 8 Naturalistic Section. ; KERAMIC STUDIO PUB. co.

_ KERAMIC, Spi... = SYRACUSE, N.Y.

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KERAMIC STUDIO 153

BIRD VASE—KATHERINE LINDSEY PERKINS

FEBRUARY 1916 iS os . COPYRIGHT 1916
ee page 1 uralist
SUPPLEMENT TO ; page Naturalistic Section KERAMIC STUDIO PUB. CO.

KERAMIC STUDIO SYRACUSE, N.Y.

THE BARGAIN LIST
at 79 cts. per dozen with treat-
ment for a while longer !

We have decided to offer for a short time, the following
studies of which we have a surplus, from Catalogue “‘F”

Catalogue F

Page

Elder Blossoms—Marshal Fry .....0.0.....0.000.00.0.cccccecsccescesceceeseeeseeees 20
Wild Carrots—M. M. Mason... ccccccccecccchcceecsescseeveeeseeeee 21
Peacock Study—F. H. Rhead ....0...0.0.00000cc.cccccccceteteeseteeseneees 23
Some Color Schemes and their Application—Hugo Froelich... 24
Scarlet Bean—Leta Horlocker.....0000.000.0..000cccccccccccceeseeeeseeenees 26
Birds for Tile Decoration—Edith Alma Ross............-...:c0ccc0000-.- 26
Poppies—M. M. Mason.......0....0....0.0cccccccccececscescscrseseseeecseassevesees 29
| EG ToS FATT eit 02.12) | (eee nC 33
Tp tN ULES Ree eee, LM Sha Ata Fa ae. Wiad ove esis vccoavens 33
Plums—T. McLennan-Himman..................cccccccssccsssssesssssseesessseecee 34
Marigolds—Laura B. Overly ..u......0..ccccccccccccccceccecsestseeeseeeeneesees 35
Zinnias—Mary Overbeck................ Fog st iy hen arley Ace ae Noi Seas 36
RCH S— PP UZ yee. ys encode teeascwesvnss Awa tsrasieestcl 37
Poppy and Hawthorn Blossoms—H. B. Paist ...........0.00.000.000.000. 38
Cyclamen—P: Patz. 2... secretes videeesecketyteresenssttiosteedees 39
Violets—M. C. Wilson... ccccccccccceccceccccceececsesetscseseeeestievatsee 41
Sweet Peas—T. McLennan-Hinman..........0..00..00..00.000.0ccccee 42
Anemone—A. Alsop-Robineaw...........0...0..005.00.:.0cccseeeeeeeeteeee 44
Calla ily— Ov Oley 2.5, i. sasisnceesceiegs hose Weeds sncgesussooseive vices oes . 46
Jack in the Pulpit—N. Beyer............... Pal eat eee Pee bs 46
Hydrangea—M. M. Mason... cece eects 47
Texas Wild Flowers—A. Donaldson... AT
Holyhogks Pe Pt zine os ceect See esheets cdebe hs eee ester 48
Cotton—A. Domald som... oc. iccececeeecteccee este tet te eeeetteeeees 15

These will be sold postpaid at 75 cts. a dozen with treatment,
until further notice. This notice will be sudden so send your
order now. No order taken for less than one dozen.

KERAMIC STUDIO PUBLISHING CO., SYRACUSE, N. Y.

NOW ON SALE

Bound Copies of Vois. 14, 15, 16,
“Keramic Studio,’ in Heavy Green

Buckram, $5.50 post paid.
Vol. 16 (May 1914, to April 1915) now on sale.

Bound Copies of Vols. 3, 5, 6, 8, 9,
10, 11, 12, 13, $4.50, post paid.

KERAMIC STUDIO PUB. CO.

Advertising copy for the March number of this magazine

should be in our hands the FIRST OF FEBRUARY
KERAMIC STUDIO PUB. CO.

eenptling fr Gates

GOOD GOODS—PROMPT SERVICE
Reasonable Prices. Catalog 152C sent on request.
WHITE CHINA FOR DECORATING

$9.00 for the best “Arto” self-centering Banding Wheel during
February

A. H. ABBOTT & CO., 119-121 North Wabash Ave., Chicago
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The Class Room Books.

No. 1 The Art of Teaching China Decoration......$3.00 postpaid
No. 2 Flower Painting on Porcelain........................ 3.00 “
No. 3 Figure Painting on Porcelain and Firing.... 3.00 “
No. 4 The Conventional Decoration of Porcelain

iti

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SYRACUSE, N. Y.

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CONTRIBUTORS

JESSIE M. BARD |
KATHRYN E. CHERRY
MARGUERITE CAMERON
MARSHAL FRY

ALBERT W. HECKMAN

MAY B. HOELSCHER

JOSEPH KALLAUS

ADELINE MORE

DOROTHEA WARREN O’HARA
HENRIETTA BARCLAY PAIST
M. A. YEICH

MAR. MCMXVI

Price 40c. Yearly Subscription $4.00

AMONTHIY MAGAZINE FOR THE POTTER AND DECORATOR:

The entire contents of this Magazine are covered by the general copyright and the articles must not be reprinted without special permission

CONTENTS OF MARCH, 1916 |

Editorial

The Art of Table Decoration

Bowl

Little Things to Make, Chicory Motif
Guest Set

Individual Sugar and Creamer

Two Rose Bowls

Cobaea

Bowl, Cobaea Motif

Answers to Correspondents

Vase, Cobaea Motif

Contaurea Americana (Color Study)
Vegetable Dish and Cover (Color Study)

Shell Plate
Lemonade Pitcher
Plate, White Roses
Game Plate

Fish Plate

Dinner Set

Bunch of Violets
Bowl

Marshal Fry

Dorothea Warren O’Hara

M. A. Yeich

Kathryn E. Cherry
Marguerite Cameron
Albert W. Heckman
Henrietta Barclay Paist

Henrietta Barclay Paist

Henrietta Barclay Paist
Joseph Kallaus
May B. Hoelscher

NATURALISTIC SECTION

Adeline More
Adeline More
Adeline More
Adeline More
Adeline More

Kathryn E, Cherry

Adeline More

Kathryn_E. Cherry

THE OLD RELIABLE ‘272-191

WRITE FOR DISCOUNTS.

their Good Qualities

INEXPENSIVE TO BUY
COST LITTLE TO OPERATE

Glaze and Color Tone

: FITCH KILNS

The thousands of these Kilns in use testify to

THE ORIGINAL PORTABLE KILN

- The only fuels which give perfect results in

No. ! Size 10 x J2 in.

Charcoal Kiln 4 sizes No. 2 Size 16 x 12 in.

STEARNS, FITCH & CO.,

No.3 Size [6x J5 in,
No. 4 Size 18 x 26 in.

SPRINGFIELD, OHIO

Page
155
156-160
160

- f6S
162-163
164

164

165
166-167
167

168

169

171

SYRACUSE, NEW YORK

March 1916

HE February number of Keramic
Studio was sent to subscribers several
days late. It was held up by the
Post Office, the Washington authori-
ties having discovered, at the end

Wf of sixteen years, that we weresending

our color supplements loose in the

Magazine. It seems that, according

to regulations, these supplements

ought to be pasted or stitched in the

What harm loose supplements did to

body of the Magazine.
anybody is a mystery which we have not solved yet and which

we despair of solving. But we had to submit to regulations
and go to the trouble and expense of pasting them. We will
hereafter try to devise some way to have these supplements
more easily detachable than they are now, although stitched
to the body of the Magazine.

moO

We have received the following letter:
Dear Madam:

Enclosed please find article which I am very anxious to have published
in the Keramic Studio, as 1 believe it may help to form clubs similar to the one
described therein.

I thought perhaps you might use it as an editorial filler when keramic
material is not plentiful. I shall be glad to answer any questions in regard
to the Art Lovers, or to write more fully to those persons in other cities and
towns who are desirous of forming Art Lovers clubs if you will kindly give
them my address.

Also, I wished to ask if you could arrange to reserve a few inches of space
each month for a brief list of the new publications on Art, Design, Arts and
Crafts, ete. This would encourage decorators to read more and gain a broader
idea of their work. I should be glad to send in the list myself as it 1s in direct
line with my duties as art reporter for the Tufts College Women’s Club and
the work in the Art Lovers Club.

Very truly yours,
ANITA GRAY CHANDLER,
Pres. Art, Lovers Club, Boston.

7 Wastman Street, Tufts College, Mass.

THE ART LOVERS CLUB

HERE has been founded in Boston recently, a club called
The Art Lovers. As the name signifies it is composed
of those who love art. A portion of the By-Laws states that
unless a person “is known to be a lover of art, congenial, en-
thusiastic, and willing to work for the good of the club” he may
not be considered for membership. The purpose of the or-
ganization is, ““To obtain a better understanding of art; to
study good pictures, their stories and their painters; to spread
the Art Idea among others, especially young people and children
by means of pictures and stories.”

With this object in view a comprehensive program has
been planned, in which each member of the association par-
ticipates, telling the story of some famous painting and giving
a short sketch of the painter, his School, or any interesting
facts concerning him or the picture which are liable to cling to
the memory. These talks are illustrated with inexpensive
prints which are afterward mounted in the club book with the
description, in this way making a complete record of all the
work done in the club from year to year.

The art exhibits and permanent collections are visited in
groups, the members meeting afterward at tea, to discuss in

a cozy, informal manner the pictures just seen. In this way
contemporary art as well as the “‘masterpieces of the past”’
may be studied. There are also plans for “spreading the Art
Idea’”’ which include trips to the Museum of Fine Arts for
young people and children, under the auspices of the club,
and the gift of framed copies of good pictures to schools, set-
tlement houses, and similar institutions, the story of the pic-
ture and something about the painter to be told at presenta-
tion.

There are numerous art clubs throughout the country of
course, each studying some special painter or school, and each
accomplishing a great amount of good. Every club organized
for the purpose of studying art is a signature on the petition
for higher ideals. Each person who thinks seriously on the
subject for a few moments realizes that art is a moral force; a
stimulus to better thought; a desire to transmit—or to emulate
—the Beautiful. The pyschological influence of art has been
copiously discussed. ‘The barest knowledge of the old mas-
ters shows how inseparably Religion and Art are joined. Myth-
ology, History, Literature, can hardly be studied without
studying Art as well; and Art can hardly be studied without
envolving the other three. There is even a relationship be-
tween Science and Art. Says Sir John Lubbock, “Science and
Art are sisters, or rather perhaps, they are like brother and
sister. The mission of Art is in some respects like that of
woman. It is not her’s so much to do the hard toil and moil
of the world, as to surround it with a-halo of beauty, to convert
work into pleasure.”’

Therefore let us have art clubs, and more art clubs. Every
community might benefit by having an Art Lovers Club such
as described, where each member is personally responsible
for part of the work done. This necessitates study and read-
ing but is delightful work for the real art lover. It takes no
more time than an afternoon of shopping, whist, or the movies.
Perhaps at first glance it seems unreasonable to ask for space
for this account of the Art Lovers Club in a journal devoted
to the pursuit of China-Painting and Pottery. But your china
decorator or potter, if she is genuine, is first and foremost an
art lover. She loves the smallest details of her work; and when
she has made something really good, thrills at the thought of
having added a tiny bit to the immense store of Art that ex-
ists in the world to-day. And if she is a true art lover she
will wish to learn more of the great artists and craftsmen of
all ages. The sooner she realizes the kinship of her branch to
all other branches of art, the sooner hers will be ennobled.
““Art is unquestionably one of the purest and highest elements
in human happiness.”

x OR

LIST OF NEW ART BOOKS

The Need for ‘Art in Life, by I. B. Stoughton Holborn.

Early American Craftsmen, by W. A. Dyer, Ilus.

Masterpieces of Painting, by Louise Rogers Jewett, late
Professor of Art at Mount Holyoke College. Illus.

Modern Painting, by Willard Huntington Wright. Illus.

Pottery, by George J. Cox. Illus. Intended for artists,
craftsmen, and teachers. Historical preface.

156

KERAMIC STUDIO

ILLUSTRATION NO, 1

“THE ART OF TABLE DECORATION”
Marshal Fry

One of the fields open to keramists which in the past has
not received due consideration is that of Table Decoration,
the application of the principles of Fine Art to the furnishings
and arrangement of the table not only for special occasions
but for informal, everyday use.

My interest in the subject for the past year has been
keen. During the years when I was a keramist I was always
interested in table china, but I thought very little about the
accompanying linen and other accessories which would be
seen and used with it. In the years that have intervened,
my artistic experiences have been varied, I have painted pic-
tures and built and furnished houses, have designed and planted
gardens, but through it all I have come to believe that the
Art of Arts is that of Interior Decoration,—the Art which may
contribute so greatly to our joy and peace of everyday life,
the Art which involves and includes the many kinds of hand
work.

Table Decoration, as is readily seen, is a branch of In-
terior Decoration, and is a subject peculiarly within the province
of the keramist, the keramist who is desirous of keeping abreast
of the times and in touch with modern tendencies.

My own interest in planning beautiful schemes for the
table came about in this way. At Southampton, where I spend
my summers, the ladies of the Summer Colony exhibit table
decorations each year at the Horticultural Show. For some
years I have seen these exhibits, deriving much educational
benefit from them, and when I took up teaching again it oc-
curred to me that the Art of Table Decoration would be one
of the most suitable subjects to introduce.

While some of the arrangements shown by these ladies
are evidence of their authors’ great artistic perception, origin-
ality and imagination, the majority of them have been the
usual sort of thing, the regulation damask cloth, dainty china,
glass and silver, with perfunctory flower arrangement, prece-
dent being most carefully adhered to.

Some of these ladies might be interested in seeing the
subject treated from a totally different point of view, so I
thought, that of Design and Composition,—and so it proved.

Usually, the ideas for my table decorations have been
suggested by china, pottery, pewter, silver, etc., which I either

had or acquired, and around which I built up my arrangement.
As for instance, my peasant scheme (illustration No. 1) was
suggested by some peasant pottery which my mother and I
had brought home from Brittany, years ago, plates and bowls
with strong bands of blue and yellow and quaint little Breton
figures painted in bright colors.

Ordinary linen and table accessories would be wholly
unsuited to this primitive ware. What kind of linen and ac-
cessories would be right? Herein, I found the chief delight of
the work, the planning of combinations, the designing and
assembling of the right things, so that the various parts of
each service would all be on the same plane, in the same spirit.

The Breton pottery obviously required coarse homespun
linen to go with it, not white, but the nice warm gray often
found in Russian crash. A long runner was made of two
widths of coarsest gray linen, joined by coarse crochet inser-
tion and the whole edged with narrow crochet. The place
doilies were round, of solid crochet worked with the coarsest
gray linen thread. Even the napkins were the same warm
gray with crochet edge, but of a softer, finer quality of linen.

For candlesticks, comports, ete., silver would be too
refined, and I had nothing suitable in pottery, but I had some
rugged old pewter pieces and these proved just the thing.
The huge old pewter platter was good as a centerpiece for
flowers, and it proved possible to have a copy made of an old
comport I had found in an antique shop, thus making the pair
which would be needed, and with my old porringers and modern
candlesticks the service was complete. It may help the reader
to form a mental picture of the color when I say that the table
itself was a deep dull blue with a gray top, linen warm gray,
dull silver sheen of pewter, bright touches of color in the Breton
plates and bowls, and in the center a great mass of brilliant
violet-blue flowers (Platycodon).

Illustration No. 2 shows the same service on a black table
with zinnias for the flowers, zinnias of wonderful salmon shades
merging into orange, vermillion and violet. The color com-
bination was truly stunning on the black table.

The starting point of the table decoration shown in illus-
tration No. 8 was also the china,—Canton ware, the beauti-
ful Chinese porcelain with the landscape decoration in blue.
I had had the china for years but never had the right things
to use with it, although Canton lends itself to combination

KERAMIC STUDIO

157

ILLUSTRATION NO. 2

- with ordinary table furnishings better than many wares. How-
ever, it was a pleasure to try to study out an environment
for it which would be entirely consistent. The elaborate land-
scape decoration on the china could be best enhanced by severe
simplicity in the linen. A gray-white linen of exquisite silvery
texture was found which suited the china so well that it seemed
as if no enrichment of the linen were necessary, a simple hem
being sufficient.

We finally added simple lines of embroidery which gave
a touch of charm without destroying the severity and restraint:
The comports were of Canton, filled with black, yellow and
green fruit, and all the other table furniture, including flat
bowl in center, with crab flower holders, four duck flower

holders and two little figurines of the Japanese goddess “Kwan-
non,” were of the same greenish grey glaze as the background
of the Canton ware.

The flowers were Japanese Iris of the most dazzling purple,
and this strong color in combination with the blue china, the
very grey linen, blue and grey table, was most interesting.
In arranging flowers on the table we of course try to manage
so that the view of persons sitting opposite may not be ob-
structed, and the iris in this present case has been criticised
on that score. However, the arrangement of the flowers
is sufficiently thin and open so that the vision is not greatly
interfered with, and even though it were, the beauty and dig-
nity of the tall stemmed iris would be full compensation.

ILLUSTRATION NO, 3

158

KERAMIC STUDIO

ILLUSTRATION NO. 4

Illustration No. 4 shows an arrangement of things Italian
in spirit. The linen is of solid crochet filet, the centerpiece
being a pattern of equestrian armoured knights, taken from
old filet designs. The place mats are of crochet without or-
namentation other than an initial. The linen and all the other
things are cream or ecru in color. The Corinthian column
candlesticks were made to look more unusual by putting glass
night lamps in them instead of candles. The four small urns
and larger one in center were originally medicine jars in an
ancient Italian pharmacy, and these held the flowers which
were the most brilliant orange and yellow which could be
imagined. (calendulas). The comports of Italian pottery
contained black grapes.

The decoration shown in No. 5 was built up from the linen.
I had found the lovely linen in a Russian store in Boston, the
lace-like pattern being woven into the material. All it needed
was a very narrow fine crochet edge of the same oyster white.
With such linen, china of distinction was required, and the
beautiful pale blue Wedgewood ware, without ornamentation
of any sort, was chosen. For the comports and flower vases
I found some interesting brass pieces in the Russian quarter,
lower New York, and these I had silver plated. The flowers
were the wonderful blues of the perennial Delphinium. ‘The
color scheme thus was of various shades of blue, silver, oyster
white and touches of yellow in the fruits.

It was the comports in illustration No. 6 which formed
the nucleus of the scheme. I had seen them in the window of
a Fifth Avenue treasure shop, and thought what an exquisite
table decoration might be built up about them. Whenever
in the vicinity I always stopped to covet the comports but
did not go in to ask the price supposing it to be quite beyond
my possibilities. However, I afterward purchased them.
Here, indeed, the chaste elegance of the exquisite old Italian
comports gave me much to live up to in planning the other
things to go with them, and this decoration took most of my
time and also most of my money. The comports were a daz-
zling white, a kind of glass, and so it was to be a white scheme
as distinguished and charming as I could makeit. The loveli-
est linen I could think of was white crochet filet, a long runner
with very long narrow place mats, the proportions being care-

fully studied out. The designs were taken from old filet work,
and were right in “atmosphere” to combine with the wonderful
comports.

I had wished to work out one arrangement suggesting an
Italian garden in miniature, and this proved my opportunity.
I designed and had made in wood a miniature garden balus-
trade, which was enameled white and this was used to enclose
my “garden.” With a dozen little white china boxes (the
bottoms of card boxes left over from my keramic days) I ar-
ranged some little formal flower beds in the center, filling them
with the little dwarf ageratum in blue and violet shades. In
the very centre, just as one might expect to find in a real garden,
as a focal point, I placed a tiny marble reproduction of an Ital-
ian bird bath. The candlesticks were Corimthian columns
which we whitened by enameling and firing, and white linen
shades were made with the same crochet filet as the runner
and mats, and lined with salmon colored silk. Instead of
real fruits in the comports those of Venetian glass were used,
black grapes, white grapes, and some rough skinned lemons
with vivid green leaves. These notes of color in the fruits,
particularly the splashes of black were most effective, and by
their frankly conventional character suited the rather formal
and stately spirit of the entire decoration. The table was
shown with the candles lighted, and the rosy glow from the
silk lmed shades on the beautiful whites, the flowers and fruits
gave an effect of irridescence, of real enchantment. So much
for my own arrangements for the table.

To keramists in general I would say that I feel that the
Art of Table Decoration is essentially a subject for them to
handle. It is not such a far ery from keramics to linens, etc.,
and the consideration of the two together and both in relation
to a whole would put new life and enthusiasm into the studio
work of the keramic worker. It will be found that to broaden
the scope of the studio work in this way will stimulate interest
among many who have not been interested in keramics before.

Never since I have been teaching has any one subject I
have dealt with proved of such universal appeal. It would
seem that almost every woman likes to have her table attrac-
tive, and she appears to be interested in new ideas which may
help her to express herself in this field intelligently.

KERAMIC STUDIO [59

ILLUSTRATION NO. 5

ILLUSTRATION NO. 6

160

While none of my five schemes included any china dec-
orated in overglaze, it was not because I did not wish it but
because I was not able to plan out what I wanted and have
the work done in time, and was thus obliged to use wares ready
at hand. For the choicest table decoration, (illus. No. 6)
it was a bitter disappointment not to be able to have the white
plates enriched with some ornamentation in colored enamel.

The plans I am now making for further creations in
table decoration are to include china in overglaze decoration.
My fingers fairly itch to get at it.

For years I have had little desire to do any work on por-
celain, but the new work in enamels being done at the present
time has greatly interested me, and through my study of table
decoration I feel greatly stimulated and enthused over the
possibility of utilismg overglaze keramics as a part of my new
work.

I used to feel that overglaze keramics was a restricted
field, and I was unhappy in it, as I could not then see its re-
lation to other things. Continued activity in other fields
has brought a larger viewpoint, and it is a joy indeed to find
myself actually enthused over new possibilities in the work
which for years I had almost forgotten.

KERAMIC STUDIO

LITTLE THINGS TO MAKE (Page 161)
M.A. Yeich
| ee chicory is here applied to a brush and comb tray,
puff box, hair receiver, pin tray and hair pin or match
box.

Chicory is found in three colors, blue, pink or white.

Paint the lines black and develop the design in several
tones of blue, leaving white paths.

For another treatment, use Celestial Blue or Peach Blos-
som for the flowers, Grey Green for leaves, stems, and centers
of flowers, and Ivory or Pearl Grey for ground. Dot the
flower centers with Dark Green.

elu
EXHIBITION NOTES
The Keramic Society of Greater New York intends to
have its annual exhibition this year in the American Museum
of Natural History, where Prof. Cornell and Mr. Marshal
Fry have this winter been giving courses in decoration. The
exhibition will open on April 5th with private view and re-

ception and will remain open to the public from April 6 to
April 19 inclusively.

~BOWL—DOROTHEA WARREN O’HARA

HE shape of this bowl was designed by Dorothea eee
O’Hara, also the decoration.

eenters.

Enamels used are extra: by mixing equal parts Apple Green Enamel and #Moss" Green

The green used for leaves, stems and bands, made

hard and should be applied in low relief and fired a little harderf’' Enamel. For violet dots around flowers and throughyleaves,
than the soft or regular hard enamels, which are usually used’ use dark Violet Enamel. _ Mix with Warren’s Enamel Medium,
on Belleek. Red enamel for flowers with white enamel for, {grind until very smooth and apply with china liner No. 2.

KERAMIC STUDIO 16]

LITTLE THINGS TO MAKE, CHICORY MOTIF—M. A. YEICH (Treatment page 160)

162 KERAMIC STUDIO

SECTION OF BORDER OF BOWL

CANDLESTICK

GUEST SET—KATHRYN CHERRY (Treatment page 163)

KERAMIC STUDIO

[63

PITCHER, GUEST SET—KATHRYN E. CHERRY

RACE design in, then outline in the outlining black, then

fire. Second Fire—Use for the design scheme of orange

and brown, dusting the brown parts of the design with Coffee
Brown and the orange parts with Yellow Brown and Albert
Yellow, then put in the Roman Gold. The gold is used on the

solid black parts of the design. The round spots (berries) are
orange, the leaves and stems, brown. Next Fire—Paint the
entire background with Yellow Brown and Dark Grey and a lit-
tle Yellow for Painting, go over the gold again. You may use
orange lustre for centers instead of the dusted color if preferred.

164

KERAMIC STUDIO

INDIVIDUAL SUGAR AND CREAMER—MARGUERITE CAMERON

First Fire—Outline with one part each Banding Blue and Black. Second Fire—Paint designs and bands with one part each
Banding Blue and Baby Blue with touch of Yellow Brown, or whole may be done in Blue Enamel.

No. i

TWO ROSE BOWLS—ALBERT W. HECKMAN

AINT in all the dark parts in Green Gold. Fire and paint

in the background in Dark Green Lustre. The large

flower forms are in Light Blue Lustre and the buds are in
Dark Blue Lustre. Fire and go over all the Green Gold.

No, 2. Paint in all the design with Roman Gold. Fire and

“wash in the background with Yellow Brown.

Put in the flowers
with Yellow Lustre and the buds with Orange Lustre. Repeat
this firing using Yellow Lustre over the buds. Last Firing—Go
over all the Roman Gold and when burnishing be careful not
to rub the lustre more than is necessary.

KERAMIC STUDIO 165

SOOO TST

COBAEA—HENRIETTA BARCLAY PAIST

As a panel this would be pretty with a soft, delicate greenish grey background. A lower tone of same color for
outline path. For coloring see treatment for Vase and Bowl, same motif.

166

KERAMIC STUDIO

VASE, COBAEA MOTIF (Page 168)
Henrietta Barclay Paist

INT entire vase with Neutral Yellow or Sat-
suma. Fire and trace on the design. Oil

and dust the upper background portions and band
with same color. Oil and dust the leaves and
stems with a soft neutral Green. The calyx
around the buds and flower are the same green
but one value higher. This can be accomplished
by lightening the Green with Ivory or Satsuma in
the powder or by applying the oil thinner and
padding it. For the purple petals of the flower
and buds use Cherry’s Mauve or any good Violet
(not Blue Violet). The stamens are solid gold
and the whole design is outlined with unfluxed gold

DETAIL OF BOWL—HENRIETTA BARCLAY PAIST (Treatment page 167)

KERAMIC STUDIO

ANSWERS TO CORRESPONDENTS

Mrs. W. T, R—In regard to dinner set by Ella M. Wood in the January
1913, number of Keramic Studio, I should like to know.

1—What the outlines are on bands?
2—W hat the outer band is?

3—Do you regard this design and the one in the same issue by Jetta Ehlers
for breakfast set, as good to-day as when published?

It is not necessary to use an outline as they are not used very much now
but if you prefer it use Banding Blue, a little Copenhagen Blue and a little
Dark Grey. If outline is not used leave the lines white in the leaves.

2. The two bands are the same color, both being stems.

3. Yes the designs are both the same style that is being used now.

Mrs. L. H. C—I have a large punch bowl that flares a great deal, would
it be good taste to decorate it inside and out with a naturalistic grape design?
What about the cups?

The conventional work is considered in much better taste, however, if
you prefer the naturalistic the grape design would be alright to use and the
small fox grapes would be used for the cups.

W. H. W.—Is there a china paint called Dark Grey or would any dark
grey answer? Miss Marie White gives Dark Grey in her treatment for the Jap.
Cranes in October, 1915. I have about 75 colors but never heard of a Dark Grey
and can’t find it in the catalogues. Would FrenchG@rey do?

Also are the Violet, Copenhagen Blue and Deep BlueG'reen mixed in using
for the trees?

167

The Dark Grey referred to is Mrs. Cherry’s. Fry’s Grey for Flesh can
also be used, the French Grey is probably a lighter grey and would not answer.

Yes the color is mixed for the trees.

M. W. S— Kindly advise what you consider the proper pieces for a welsh
rare bit set, also the proper decoration for same.

A large platter, a chop dish could be used for the rarebit and seven
inch plates for serving, and a pickle or relish dish, may be used. There is no
regular rarebit set. Any kind of a conventional design could be used, the
color should be kept rich and delicate.

F. L. S—What color can I use for a delft blue background, and must i
be dusted on or painted?

Does Satsuma ware require a special firing or can wu be fired together with
other china?

Grey Blue and a very little Banding Blue dusted on will make a good
delft blue, or you may use 2 parts Banding Blue, 3 parts Copenhagen Grey,
1 part Copenhagen Blue, 2 parts Ivory Glaze.

No, Satsuma does not require a separate firing, it requires alittle hotter
fire than Rose, it can be fired with the hard china by placing it in the cooler
part of the kiln,

F. C.—Will you tell me how to fire a sauce boat with the tray and boat in
one piece? TI have broken two exactly the same way.

These boats break quite often on account of the way they are made.
Put them on a stilt so the heat can go under and all around them and ‘do“not
heat them up too quickly.

BOWL, COBAEA MOTIF—HENRIETITA BARCLAY PAIST

AME coloring as for Vase (page 168)—Satsuma in two
values, Mauve, Grey Green, Gold—or can be treated
with metals and lustre very effectively by etching away the
background behind the design—laying the stamens and petals

of flowers with Roman Gold. Sepals, stems and leaves with
Green Gold and after firing envelope the entire bowl in Green
Lustre. Niagara Falls Green is an iridescent green and very
beautiful in effect.

168 KERAMIC STUDIO

VASE, COBAEA MOTIF—HENRIETTA BARCLAY PAIST (Treatment page 166)

KERAMIC STUDIO , 169

CONTAUREA AMERICANA—JOSEPH KALLAUS

KERAMIC STUDIO PUB. CO.
SYRACUSE, N. Y.

MARCH 1916 See page 8 Naturalistic Section
SUPPLEMENT TO
KERAMIC STUDIO

tei

| KERAMIC STUDIO z {75

DINNER SET, BRIDAL CHINA—MAY B. HOELSCHER :

i COPYRIGHT 1916
ARS alan See page 8 Naturalistic Section KERAMIC STUDIO PUB. CO.

KERAMIC STUDIO SYRACUSE, N. Y.

+i,

ese

K. E. CHERRY
Colors and Enamels

STANDARD PAINTING COLORS
as good as the best and cheaper, in vials and half vials

DUSTING COLORS

mixed in acetone, perfectly smeoth, a careful selection of
glaze colors for dusting, in vials and half vials

ENAMELS

all soft, artistic colors, put up in half vials, small quantities
at reasonable prices

SEND FOR COMPLETE PRICE LIST

The demand for Cherry colors is rapidly spreading. If you
have not used yet these colors send for a trial box, prepared
especially for their introduction to new customers and con-
taining 10 painting and 4 dusting colors for $1.00 net or the
14 colors as above plus 12 enamels for $2.25 net, all in half
vials. Selected from the best selling colors.

THE ROBINEAU POTTERY, SYRACUSE, N. Y.

A new line of “Favorite” China just received

Prices haye increased, therefore take advantage of the 20% discount
from listed prices during March and April. No china Catalogue issued.
Add postage.

Creamer, No. 6920, 25c

Cream Soup Bowl, No. 2715, 40c Berry Dish, No. 3339, 90c
Try my “SYRACUSE” OUTLINING INK or ask your dealer for it.
25c¢ and 50c postpaid.

WEBER’S SPHINX GOLD 65c a box, $7. at dren:
SLEEPER’S CRUCIBLE GOCOLD “ “
Add two cents postage for each box.

COOVER’S BLACK OUTLINES. CHINA PAINTERS’ SUPPLIES.
K.. E. CHERRY’S COLORS AND ENAMELS.

JESSIE LOUISE CLAPP, 516 McCarthy Blk., SYRACUSE, N.Y.

Bargain Sale of Studies will
continue until further notice.

SEND FOR LIST! KERAMIC STUDIO PUB. CO.

You a Find Our Prices

very reasonable;'and the service good. The Parcels Post
will bring China and Art Goods to you. Art Catalogue No.
162K sent on request.

A. H. ABBOTT & CO., 119-121 North Wabash Ave., Chicago

COOLEY’S GOLDS

GREEN, RES WHITE
SUPERIOR LUSTRES
Fine China for Decorating -

BOSTON CHINA DECORATING WORKS
Established 1860 38 Tennyson St., BOSTON, MASS.

1 Flower Painting |
(Gn Porcelain,

aes

‘geRwae: Stupie Pu POLISHING cm

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Four Books ordered. together... eee amen
Seven Books ordered together.)..205.00. 200 S.cu5. 3. be

‘Eight Books, including “Book of Caps and Saucers”
The Nine Books Complete... Pe tote
‘Book of Cups and Saucers and year’ Ss subscription
to Keramie Studia. it
Litile Things to Make and year’s ‘Subscription to
Keramic Studio,;....:

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Keramic Studio Books —

Each complete i if one volume: “Postpaid.

KERAMIC STUDIO MAGADINE, #400 PER YEAR

600 © sy

CONTRIBUTORS

KATHRYN E, CHERRY

IDA. NOWELS. COCHRAN
MABEL EMERY,

IDA CG, FAILING

MARION T.-FOSDICK

ALBERT W. HECHMAN
DORRIS DAWN MILLS
ADELINE: MORE

DOROTHEA> WARREN O’HARA
HANNAH 6: OVERBECK
KATHERINE LINDSEY PERKINS
LEAH: H. RODMAN

RUTH: M. RUCK

JEANNE M. STEWART

LOLA: A?. ST. JOHN

WALTER KARL TITZE

M.A. YEICH

APONTHLY MAGAZINE FOR THE POTTER AND DECORATOR:

| {22S ae

Theentire contents of this Magazineare covered by the general copyright and the articles must not be reprinted without special permission

CONTENTS OF APRIL, 1916

ONNNA OWN BY Be

Page
Editorial 173
Strawberry Border Ruth M. Ruck 174
Salad or Fruit Set Kathryn E. Cherry 174-175
Plate Albert W. Heckman 176
Teapot, Wild Rose Design Hannah B. Overbeck 176
Sandwich Tray, Wild Rose Design Hannah B. Overbeck 177
Plate, Mountain Ash Ida C. Failing 178
Bon Bon Box Mabel Emery $79
Tile Katherine Lindsey Perkins 180
Salt and Pepper _ Leah H. Rodman 18}
Belleek Bowl Dorothea Warren O’Hara ; 18
Bread and Butter Plate, Orange Blossom Design Lola A. St. John 182
Little Things to Make, Fruit of the Dogwood M. A. Yeich 183
Beginners’ Corner 184
Answers to Correspondents 185-186

NATURALISTIC SECTION
Chestnuts, (Color Study) Jeanne M. Stewart
Bowl, (Color Study) Albert W. Heckman
Birds and Pine Cones Adeline More
Tea Set Walter Kari Titze
Bowl or Plate Design Walter Karl Titze
Vase Kathryn E. Cherry 4-
Quince Marion L. Fosdick
Satsuma Box, Roses Kathryn E. Cherry
Salt Shaker Ida Nowels Cochran
Small Grape Pickle Dish Dorris.Dawn_Mills
Hollyhocks
»

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KERAMIC STUDIO

CHESTNUTS—JEANNE M. STEWART

See Naturalistic Section, page J, for treatment

KERAMIC STUDIO PUB. co_

KERAMIC STUDIO SYRACUSE, N.Y.

Vol, XVII, No. {2.

SYRACUSE, N EW YORK

April 1916

E have had several inquiries about
our next Summer School, but we
will have no Summer School this
year in Syracuse. However, Mrs.
K, EK. Cherry who has always been
the corner stone of our schools will
teach the coming summer in the East,
beginning on June Ist at the store of
B. K. Elliott & Co., 108 Sixth St.,

Pittsburgh, Pa. All freee interested
should write to Mrs. Ghee for further information, terms,
etc. Weare glad to hear that the Boston Society of Arts and
Crafts has recently conferred on her the grade of Master
Craftsman. This honor is well deserved.

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Un 17

NL
.

We have received several interesting answers to the Y. P.
S. letter published in our February number. It wiil be impos-
sible for us to publish them all. We give here two of the best
answers:
To Editor of Keramic Studio:

Apropos of the letter signed V. P. 8, in February issue I submit the fol-
lowing:

I confess that it is always with mmegled emotions that I set out for a cold-
blooded argument in favor of a purely conventional decoration for china.
First, because I have stood exactly where our conscientious friend now stands
on the question, and secondly, because 1 do not now stand for much of the
conyentional decoration, so called, of the present time.

The word Conventional does not to me cover the multitude of artistic
sins which are daily being committed in its name. But my conversion to a
formal type of decoration after twenty years of familiarity with nature forms
and of depicting them on all kinds of surfaces was a matter of conviction and
not the acceptance of a “fad”. It is true, as our Hditor has said, that
the study of Universal Principles gradually leads us into the realm of the
absolute and that some rare souls do indeed get a glimpse of the Infinite and
have the power of interpretation. It is, however, a realm where many take
refuge, safe from academic criticism, but with no power to interpret to the
multitude the truths they claim to have divined. It is true that those who
see beneath or beyond the form, the underlying principles governing all form,
have a vision beyond those who only see the material form, however pure
their enjoyment may be, but it is one thing to grasp the essence of a form
and portray it in a few simple fundamental lines that all may understand,
and another thing to separate a form into its component parts and shake them
up in a box and dump them as you would a puzzle for the ingenious to figure
out.

The Platonic philosophy has long been and will continue to be the in-
spiration of artists in every department of art, but, laying aside philosophic
arguments and the manifestations into which serious study of principles must
eventually lead when considering design for itself or apart from its use, we,
as decorators, always have the practical excuse for the simplification and rep-
etition of nature forms and that is expediency. The pure joy and apprecia-
tion of nature in form and color cannot be ignored or minimized. But when
one leaves the broad field of Fine Art for that of decorative art, and especially
for the branch known as keramic art, one must once and for all recognize the
logical limitations and realize the difference between representation and
decoration. Here, form, or the object, is primary, the decoration secondary.
It is not merely a background or a surface on which we may depict such bits
of nature as we deem worthy of being perpetuated. Itisanobjectpresumably
already beautiful, which we hope by a sympathetic treatment tomakemore
beautiful. And right here is one of the best arguments against the naturalistic
decoration, for on a curved surface the drawing is necessarily distorted from
any one angle and the purpose is defeated. A flat simplified pattern does not
suffer in the same degree. It may or may not be distorted m the process,
that depends on the artist, but it does not suffer as does the more natural
drawing because of the curved surface. Always one must decide which one
is most interested in, the decoration or the finished object. If the former,

by all the laws of expediency choose a flat surface and one not intended for
some practical use. If you have realized your limitations and are trying to
render more beautiful an object already beautiful in form, then in all sincerity
study first the form +o be decorated and see where and how the application
of pattern will accomplish this end and do not let your love for nature forms
blind you to the object before you, but make such changes and simplifications
as are necessary in order to conform to the shape and become in effect a part
of it. If one cannot after conscientious study and thought bring oneself to
use nature in such simplified forms as will lend themselves to the harmony
and unity of the whole, either ignore natural forms as inspiration and study
pure line and color as abstract qualities, or return to that broader field of art
where one is at liberty to “paint the thing as he sees it,” for itself alone,
for the pure joy that may lie in him for representation.

Referring to the suggestion in the letter of the use of “small, rather
flatly painted pansies, grouped in an orderly way” on table service, I would
say that such a type of decoration is avast improvement over the large showy,
sprawly kind and is a long step in the right direction, as it recognizes the
principle of order and is in a measure subordinated to the shape. Much of
this type of decoration is charming and attractive, but while it does not
directly violate the principles, rhythm and balance, and may be harmonious
in arrangement and color, one will eventually see that it is not as serious a
type of decoration as that in which the individuality has been sacrificed for
the sake of perfect unity. Art is broad and deep, and there will always be
controversies and tendencies to fling off the orthodox restrictions. The ten-
dency at present in the Fine Arts is more and more towards the decorative
and abstract, and in the search for the ideal has in my humble opinion led to
the committing of the same crime for which we have been accused and found
cuilty, i. e., the failure to distinguish between Fine and Decorative Art, Of
course, the dividing line is very elastic and there must be room for much that
is hard to classify. Poster work is of this type, and while an Aubrey Beardsley
may be a legitimate offspring of the union of Fine and Decorative Art, a cubist
portrait cannot be classified either from a materialistic or philosophic stand-
oint. It is neither a picture nor a design according to any known definition
of either, and according to one close student of this type of expression “‘it is
not good metaphysics”. So we object to that comparison.

We can by persistent, conscientious study form a basis for individual
judgment and not stand perplexed and discouraged over the antics of the
extremists in either field of Art. As decorators we can combine the ideal with
the practical in such a way as not to lose our equilibrium and in a language
that will be intelligible to all.

Henrietta Barciay Paisr.

T'o the Editor of the Keramic Studio:
My dear Madam :—

Comparison between the naturalistic and conventional modes of treat-
ment in the ancient art of porcelain decorating is a little like comparison
between forms of poetry. One poet declares the sonnet to be the highest
form of poetic expression. Another poet points out the fact that he always
employs the ballade and vigorously contends for its superiority. To war-
ring poets and painters alike comes Kipling’s aboriginal wiseman, with his
equalizing statement that

“There are four and twenty ways

Of constructing tribal lays,

And every single one of them is right.”’
There seems to be enough room under the broad canopy of art for the con-
ventional and the naturalistic. Still greater than amy expression of art, is
art itself. The decorator needs to ask, not so much how this ‘“‘conventional’”’
compares with that ‘naturalistic,’ as to inquire searchingly: Is this good
“conventional?” Is that good “naturalistic?”

With swift intelligence the desert Indian weaves into her rug her prayer
for rain— o— and behold, a conventional pattern in its primitive
power and beauty. With like untutored impulse a child groups the char-
acters and objects of some fairy tale and produces a design made in obedience
to laws of art which the child is privileged to express, perhaps, more unerringly
than the teacher. The great Chinese or Japanese painter presents a group of
ducks among the reeds at the water’s edge. The form, the feathering, what
is of the utmost importance, the characteristic action, orgesture, of the ducks
is there in the drawing. Naturalistic? Supremely so. And yet the painter
has not “copied” the ducks. In fact, the ducks were not before him when
he painted the picture. With the sunshine pouring down upon it, Monet

{74

paints his pool of water lillies. Naturalistic? Absolutely, But most of us
need our color sense sharpened and need to cultivate a less material appre-
ciation of nature generally, before we can see the lilly pool as Monet sees it.
Naturalistic need not be confused with materialistic. Nature does not ex-
press matter. Nor is conventional treatment in itself the less materialistic.
But both “conyentional”’ and “naturalistic”? may express restraint, balance,
rhythm, all the qualities of art, which are within us and not without, and which,
expressed, cheerfully defy the analyst. Very truly yours,

Fiioyp Trices.

NEW ART BOOKS WORTH READING
Anita Gray Chandler
“The Flower Art of Japan,” by Averill. John Lane Co.

Illus. Includes unique flower arrangements that might be
adapted by the china decorator.

KERAMIC STUDIO

“Old-Time Gardens,” by Alice Morse Harle. Reprint
by Macmillan Co. Illustrated chapters on Colonial gardens,
herb-gardens, poets’ gardens, and old flower favorites. De-
lightful reading; full of suggestions for the woman who carries
her love of art into every phase of her life.

“Fountains of Papal Rome,” by Mrs. Charles MacVeagh.
Charles Scribners Sons. Tilustrations drawn and engraved on
wood by Rudolph Ruzicka. Interesting in a general. way
to the art lover.

“A History of Sculpture,’ by Harold N. Fowler, Ph.D.,
Professor in the College for Women of the Western Reserve
University. IJllustrated. Deals entertainingly with the art

of sculpture from the earliest work in Egypt and Babylonia
to the present time.

Macmillan Co.

STRAWBERRY BORDER—RUTH M. RUCK

LBERT Yellow, Yellow Brown, Carnation, Blood Red,
Ruby, Violet, Pearl Grey, Blue Grey, Apple Green,
Yellow Green, Shading Green, Brown Green, Dark Green,
Black. Follow the directions for painting of other fruit and

flowers for the different fires, use Blood and Ruby for darkest
red in the first painting of berries and glaze with Carnation
in the second. Paint the light berries with Yellow and Car-
nation, ereying the more tender ones with Violet.

BORDER OF MAYONNAISE BOWL, SALAD OR FRUIT SET

PLATE OF SALAD OR FRUIT SET—KATHRYN E, CHERRY

(Treatment page 175)

KERAMIC STUDIO

{75

FULL SIZED DESIGN FOR SIDE OF BOWL

BOTTOM OF BOWL—SALAD OR FRUIT SET

BOWL OF SALAD OR FRUIT SET—KATHRYN E. CHERRY

UTLINE design with Black, then fire. Oil the grapes
and dust with Dark Blue for Dusting; then oil the leaves

and dust with Florentine Green; then oil the stems, dust with
Mode; then oil the apples and dust with Yellow for Dusting;

then fire. Touch up any spaces where necessary, then paint
in red spaces with Yellow Red. The color over the bowl is
painted on with Grey for Flesh and a little Apple Green.

176

KERAMIC STUDIO

PLATE—ALBERT W. HECKMAN

SE Florentine Green dusted on three outer lines around

edge of plate and the inner line, also the leaf form under

the flower unit and the leaf forms in center.

and stems are Water Blue and a little Banding Blue.
square dot in flower and in bands is Gold.

The flower units
The

TEA POT, WILD ROSE DESIGN—HANNAH B. OVERBECK

PPLY to entire outside of teapot and top of tray a tint

of Imperial Ivory with a little Black and fire. Outline

the design with Finishing Brown with a little Seaweed Green
added to make a greenish brown. Tint background spaces of
design with same. Centers of flowers: Yellow Brown with a

little Black. Flowers: Rose. Stems and light parts of leaves:
Apple Green with a little Finishing Brown and Black. Dark
parts of leaves: Grapevine Green with a little Finishing Brown
and Black.

S77

KERAMIC STUDIO

(Treatment page 176)

SANDWICH TRAY, WILD ROSE DESIGN—HANNAH B. OVERBECK

178 KERAMIC STUDIO

PLATE, MOUNTAIN ASH—IDA C. FAILING

HE darkest toned stem, the outline around berries, and Second Fire—Oil the leaves and dust with Florentine
the dotted background and the band at edge of plate Green. Paint Yellow Brown Lustre over the berries and
are Gold. All other outline is Dark Grey and a little Yellow Yellow Lustre in the wide dark band.
Green.

KERAMIC STUDIO

179

BONBON BOX—MABEL EMERY

O be carried out in soft enamels. Large flower is orange
with purple and red in the center. Centers of two dark
flowers and berries on the edge with two exceptions, two ber-
ries next to the dark flower and centers of star shaped flowers
are also orange. The black eyed susans, light rings and small
petals of the dark flowers and centers of berries are light yellow.
The melon and heads of black eyed susans are light brown.

The berries are bright red, also berry at the lower side of dark
flower at the top of design. Dark flowers and two berries at
the edge of star flower at top of design are purple. Star flowers
are bright blue and leaves a strong yellow green. Heavy out-
lines and black background spaces are black also band on edge
of lid.

KERAMIC STUDIO

180

‘WYSl] MOT[EA Aoir) IA [Te ULL, “sjewreue prey ut Aewy v LOJ SuLUTeI] I0F ATL,

SNIMNadd AYSCGNIT ANYAHLVA—ATIL

<M,

fs Ci : of

.
y

KERAMIC STUDIO

SALT AND PEPPER
Leah H. Rodman
CHEME—Tulip and stems blue enamel, leaves gold, or
black part of design violet enamel, gray part in brown
green.

18]

EXHIBITION NOTES

Our editor, Mrs. A. Alsop-Robineau, is exhibiting at the
Macbeth Galleries, 450 Fifth Avenue, New York, some of her
high fire porcelains. This is part of the exhibit which received
the Grand Prize of Ceramics at the Panama Pacific Exposition,
and also includes some more recent pieces. Another interesting
lot of her porcelains is shown in the Syracuse Museum of Fine
Arts, where it will probably permanently remain.

Mrs. Katherine EH. Cherry exhibited a most interesting
eroup of enamels at the Arts and Crafts Shop, Boston, this
past week. It was a small collection but choice. Her de-
signs are characterized by a certain fluent grace that attracts
even the casual observer and holds the trained eye to careful
inspection. Her colors are, in the main, soft and well-modu-
lated, green-grays and grey-whites being employed in most
pleasing harmony in several pieces. Mrs. Cherry has applied
gold with a miser’s hand, for which one is thankful in the present
instance. Her coloring in this exhibit, in twilight and early
morning nuances, requires no oriental touch of metal to achieve
its purpose. One remembers a serving-tray in bird motif,
a fancy-biscuit jar in well-modelled enamels, and three bowls
most charming. If there is any fault to find it is with a slightly
hurried execution in the bands of flat color on several pieces
but one forgives this defect in view of the skill that placed the
enamels.

BELLEEK BOWL—DOROTHEA WARREN O’HARA

The shape of this Belleek bowl was designed by Dorothea Warren O’Hara, also the decoration.

Dull Yellow and Cobalt Blue.
turpentine.

Enamels used: Green No. 1,

Gather enamel together with Warren’s Enamel medium and thin with fresh
Grind until very smooth. Float on enamel with china liner No. 2.

182

LITTLE THINGS TO MAKE (Page 183)

M.A. Yeich
FRUIT OF THE DOGWOOD
eae Yellow Brown or Green (indicat-
ing different stages of growth). Tips—Dark Brown.
Leaves and stems—Grey Green, Moss Green, Shading Green,
Brown Green. They may also be slightly tinged with Pompa-
dour Red. Branches—Copenhagen Grey and Dark Brown.
Black parts—Roman Gold. Lines—Black.
STEIN
Use Carnation for the berries with an underlying wash of
Ruby. For the leaves, veins, leaf and berry stems,
and upper portion of background use several tones of Grey
Green. By adding Shading Green make the lower portions
of the background darker until the shading green alone is used
at the base.
CREAM PITCHER
Use same colors as for hat pin holder.

KERAMIC STUDIO

SALT DIPS AND ROUND BOX

Use dark green for lines. For the berries, stems and
ground use several tones of Apple Green greyed with a touch
of Black. Paint the berries in the darkest tone with dark
green tips.

HAT PIN HOLDER

Tint china with Yellow Ochre before placing design. Line
design with Red Brown, then proceed as for stein.
SMALL MOTIFS
Paint black parts of designs with Roman Gold. Use

Black for lines. For the berries and the ground use
several tones of Yellow Ochre, adding a little Carnation for
berries. For the tips of the berries use Dark Green and for
the leaves and stems a medium tone of Green. Gold may be
substituted for the berries if desired, except in the designs for
the olive dish and the salt shakers.

BREAD AND BUTTER PLATE, ORANGE BLOSSOM DESIGN—LOLA A. ST JOHN

Outline and thin band are Gold.

Second Fire—Oil leaves and grey stems and dust with Florentine Green.

Oil wide

dark band and dust with Dove Grey. Flowers and buds and oiled are dusted
with Yellow for Dusting. Retouch Gold.

KERAMIC STUDIO 183

LITILE THINGS TO MAKE, FRUIT OF THE DOGWOOD MOTIF—M. A. YEICH (Treatment page 182)

—_

BEGINNERS’ CORNER

Names of successful contestants for this department will be given in next
issue. There are so many contestants that we have not yet
had time to read all the articles,

=e,

A SHIP DESIGN FOR BEGINNERS
Mary Johnes

| Pherae a “really truly’’ beginner, suppose you try the little

panel design of the ship. You can put it on a tile ora
square fernery or any four panelled piece of china. You will
need to continue the water and cloud lines on either side to fill
a square panel. If you can draw, you will have no trouble in
adapting the design to whatever size panel you use. But if
the ship tile seems too hard to manage, try one mono-
gram on a tea tile. The method is the same. First drop
upon your surface a drop of fat or thick oil of turpentine then
with a little spirits of turpentine on a rag wipe it all over the
space to be designed and pad it with a little ball of absorbent
cotton covered with a bit of old white silk handerchief held
by arubber band. Let this dry. Make a tracing of the out-
line of the design, with India ink on tracing paper, on the
wrong side of the tracing go over the lines with a soft pencil.
When the china is dry, place this tracing, pencil side down,
on the china, fastening it in place with a bit of plasticine, trace
the lines of the design with a hard point. You can use a sharp
hard pencil, or a slate pencil or an ivory point, lift one end
of the design to be sure all lines are traced before removing
the tracing paper. Then with a fine pen and Higgins Water-
proof ink, go over the design on the china making as fine lines
as possible. Then with a little spirits of turpentine on a rag
wipe off the surface any smears of oil or lead.

Heat your square of gold by leaving a moment on the

84 KERAMIC |;STUDIO

stove or register or passing a match beneath it. Take a small
quantity with your small horn palette knife and remove it to
a clean slab of glass and add a drop or two of garden lavender
till it is thin enough to flow from the brush like cream, if too
thin it will spread, if too thick it will not go on smoothly. Use
a square shader number six, work it in the gold till it is full,
and then, spreading it on the china, fillin the black parts of
the design with a thin coat dry the tile or fernery in the oven
and give a second coat, making your brush strokes in the op-
posite direction. After drying this, take a pen knife and
seratch out any gold that has run over the design. Be sure
the white portion is clean, then fire. This can be repeated in
a second fire if the gold is not heavy enough. The gold will
look dull when it comes from the fire, it must be burnished
either with a glass brush or a little burnishing sand and water
used with a rag.
HO
HINTS FOR BEGINNERS
Mrs. M. Phallips

WILL give you some of my experience as a teacher. The
first thing is to get a book of instructions, of China paint-
ing, there are many good ones.

Learn well your colors and strength. Practice by mak-
ing straight and curved figures, blending same with brush.
Avoid using too much oil in brush. I use } oz. oil Cloves, 4
oz. Balsam Copaiba, 15 drops Tar oil for mixing medium.

It is always best to draw single flowers first, outlined in
India ink. Don’t try to paint flowers completely for first fire.
The thinner you paint for first fire the better, so you keep your
design, the second fire you will have something to work on
and gain confidence, your trouble will be getting too much
paint on brush, thereby getting it on too heavy, not having
the touch or control of your brush. Load brush often and
lightly. So many dip right into center top of pile of paint.
Take from side blending it into brush well. This mixes it
with the oil in brush, it must then go on china smoothly. Use
the brush as you would a pen, keeping it flat, touching nearest
corner of brush to china, bringing down as to width and depth
desired. Do not work over your painting after having layed
it in, or it will look mussy. One stroke of the brush gives best
results. If you do not get it right, rub it off, nothing else will
make good.

If you paint you cannot afford to be without the Keramic
Studio. When you get it study it.

e
STUDIO NOTES

Mrs. L. Vance Phillips will resume her teaching at Chautau-
qua the coming summer. She will be assisted by Miss Fannie
M. Scammell, who has just returned from California. Miss
Scammell will be remembered by Keramic Studio subscribers
as a former contributor to the magazine. She has taught at
Chautauqua before and has been one of the most popular assist-
ants of Mrs. Vance Phillips there. She is an enthusiastic
teacher, and her work has charm and:style.

Mr. Walter Titze of St. Paul, Minn., is at present doing
some work with Coover’s Outlines, demonstrating in different
large cities in the West the practical application of this me-
dium of decoration. His work covers enamels, lustre and flat
color treatments and the technique that enables his pupils to
execute the work. He spends a week at each place. He starts
in the first week of March at the Milwaukee Art Store, Mil-
waukee; from there going to Devoe & Reynolds Co., of Chicago;
after that Miss White’s studio in Detroit; Mrs. Weschler’s
studio at Erie and at Mrs. Filkins in Buffalo.

KERAMIC STUDIO

185

FERNERY—ELISE W. TALLY

IL the dark part of flowers and the small units in design,

stem, and the pointed space between the upright leaves

and bands and dust with Water Blue. Oil leaves and dark

design at the lower corners and dust with Grey Blue. Oil

light spaces in flowers and the grey tone on the corner panels

and dust with Glaze for Blue. Oil grey centers in flowers and
the white space in the circles and dust with Bright Green.

ec 6
ANSWERS TO CORRESPONDENTS

G. R.—When a design on a rim plate is done in silver and gold, is fired
several times in a Wilke kiln, and other china exposed to less heat during the same
firing retains gold and color and stands polishing while the first piece, the silver,
comes off and not the gold, what is the trouble? In some places the silver is blis-
tered and if we persisted I believe we could scrape most of it off, I wanted to give
silver second coat when thin, and white gold was used for silver and that is where
the trouble began. What shall I do to remedy it, take 2 all off or apply more
white gold after getting most uf it off?

2. What can be done to a vase where the paint was applied too heavily and
has chipped off leaving no glaze there? Subject dark red roses, crimson purple
and ruby being used in hearts of rose. Would repeated firings aggravate it?

8. Is the sugar and black the best combination for outlining, some of my
pupils seem to get it on loo thick and tt spatters in the firing and chips off.

If the silver blistered and came off it is probably due to being applied too
heavily but if it looks even and rubs off in burnishing it may have been under-
fired. ‘The silver requires a little hotter fire than gold. You should not have
trouble with the white gold as it is used as satisfactorily as the silver in most
makes, If the silver looks smooth you need not take it off but apply another
wash of it and fire it.

2. If the rest of the color looks heavy it is best not to fire it again or
more color will chip off. You can paint the flowers again and let it dry thor-
oughly and then put a thin coating of shellac over it and it will hold but if

you prefer firing, scrape off as much of the color as you can and possibly it
will go through the fire alright.

3. Some people prefer the Mueller & Henning tube Outlining Black
which is thinned with lavender oil while working. You will also find some
advertisements in this magazine of bottled Outlining Black which is very satis-
factory.

C. M.—Would you please tell me how to use the powdered zine in a kiln
which has become clogged with soot?

Can I put the zinc in while firing, with the china in the kiln?

Which is better, the powdered zinc or strips of it?

If strip is best how long a piece should be used?

Can you tell me of any blue color that will not wipe off or wear off for bachelor
buttons or darker?

The powdered zinc is thrown on the flame when the pan is hot, it is al-
right to do it while firmgthe china. It would be better to correct the draught
for your kiln as you probably do not have one that is strong enough. Wither
the strip or powdered zine can be used, it is best to cut up the strip in
small pieces.

No color should wipe off or wear off if it is fired hot enough to have a glaze
unless you have a color that is not fluxed enough, all of the standard colors
colors on the market are alright. Deep Blue Green, Banding Blue and Copen-
hagen Blue are good colors to use.

Mrs. E. J. F—Am painting a lemonade pitcher with dragon handle, want
to use green jewels for eyes, how do I fasten them in? Should they be put in
after pitcher is completed?

You can fasten them in with any good glue. Yes, the pitcher should be

completed.

Mrs. N. R. V.—I have a beautiful cup and saucer in Willetts Belleek and
want something to put on it. Would you suggest tinting Belleek all over where
it is so pretty and creamy in itself and what colors would you use on Belleek ware
not tinted?

No it is not necessary to tint it since the ware is such a pretty color.
amels can be used very successfully on it or any flat colors and gold.

Kin-
You can

186

use any colors on it if they are used delicately so they blend in with the color
of the ware. Soft grey, green gold, dull yellow and a dull lavender or mode
isgood. Also pink and greys or any other color that you like.

H. M.G.—Would you kindly tell me if Royal Doulton china can be. fired
to advantage. There is a difference of opinion here in regard to it.

You should be able to fire it but we do not know what temperature of
heat it requires, if it is decorated you run a risk in firing it.

M.—A friend has a dinner set with a tinted background which has been in
use for years. The tint is worn off in places. Fruit acids, elc., affect the tint.
Why is this? Is it not advisable to tint anything that will be used a great deal?

The tint should not wear off, it probably was not fired hot enough. Table
ware is not being tinted all over now, it is left white with the edge tinted if
preferred or it is all left white except the design.

I. N. C.—In the September, 1915 number of Keramic Studio, page 66,
there is a wild grape motif for Belleck bowl by L. A. Mowbray, I would like
lo make the grapes a different color not purple. What would you suggest?
Would pale green or white gold look well?

White gold would be alright but they would look better in enamel since
the leaves are made of it. A dull yellow enamel made of Jasmine and a little
Amethyst or Warm Grey would be alright or if White Gold is used paint the
leaves with flat color or Light Green Lustre.

Mrs. E. W.S—Do not quite understand the new dusting process. In
doing tea tile “Phantom Ship Design’ in May, 1914, is il necessary lo dry
dusted part before proceeding with the neal, and whatis to prevent one dusting
color from dusting into the air and settling on the others? I have used the dry
ground process for large surfaces successfully but do nol see how it can be applied
Why is the entire tile dusted with grey in
Should the color when applied obscure the entire design?

to small spaces nexl lo one another.
the last fire?
2. In using lube colors can I use Lavender oil as a medium or just turpen-
tine?
3. In painting on dusted parts, must they be first dried and the painting
proceed in the regular manner?

1. No, it is not necessary to dry the different colors, a small dusting
brush is used and you keep the color oif the other parts as much as possi-
ble. It is best to dust the darkest and strongest colors on first and then if
the hghtest colors do dust over them it will not affect them. Yes, the grey
should be over the entire design, it is a very delicate color and will not obscure
your colors but is used to blend the colors together in one tone.

2. Yes, Lavender may be used instead of turpentine.

3. Do not understand this question, if you mean painting over a place
that has been dusted it cannot be done before the dusting is fired.

FF. A, J.—Will you kindly tell me tf lustres and enamels will work on French
and German china afler design was removed with acid and the glaze left dull2
Would I use hard enamels the same as before?

Can Satsuma be fired with the French and German china by putting in the
coolest part of the kiln?

Enamels are never as satisfactory on these wares as on a soft ware, you
are always in danger of having them chip off, but they will hold just as well
as before the glaze was removed. Lustre would not be satisfactory as it would
fire dull. Dry dusting would be satisfactory onit. Yes, use hard enamels.

Satsuma can be fired with the other pieces as you suggest.

O.S. B—In December, 1914, Keramic is a lemonade sel in enamels by
May B, Hoelscher which I do not fully understand.

KERAMIC STUDIO

1. What is the effect of the finished piece, to suggest a delicale linking or
otherwise? because it means a difference in laying on the colors.

2. What is the proportion of Meissen Brown and Brown Green?
another color serve as a substitute Jor Meissen Brown?

5. Some of the small dark spaces in band are darker, those nearest the cir-
cle being the darkest, are all Blood Red? What are the two spaces in stalk just
below the darkest flowers at the base of circle, also the two small spaces where the
stalk and band meet at bottom of pitcher?

4. Is the band, leading from the stalk and running around base of pitcher
to be of same enamel as stall?

5. What color in center of flowers?

6. Is enamel used to fill in the small circular form around each flower, if
so what color?

Could

1. The general effect is delicate tinting.
2. A Dark Brown and Yellow Brown could be used instead of Meissen
Use 1 part Dark Brown, 1 Yellow Brown and 1 Brown Green.

3. All of the dark spaces should be the same tone of Blood Red.
the Yellow enamel used in the light flower for the spaces in the stall.

4. Yes,
5. Use Jersey Cream in a ready prepared enamel, or Yellow Brown and
a little Black in mixing the enamel.

6. Yes, use the same enamel in dark flowers as used in the partly
concealed ones and in the latter use the same as in darkest flowers. For
lightest flowers use same as centers with a little more white added.

Use

A new line of “Favorite” China just received

Prices have increased, therefore take adyantage of the 20% discount
No china Catalogue issued.

from listed prices during March and April.
Add postage.

SS
No. 6809 Chocolate Cup and Saucer 40c

No. 6896 Tea Cup and Saucer 40c

No. 6549 Cracked Ice Bowl

$1.75

No. 2759 Marmalade Jar 89c

Refer to March issue of Keramic Studio for other shapes included in this offer.
Try my “SYRACUSE” OUTLINING INK or ask your dealer for it.
25¢ and 50c postpaid.

WEBER’S SPHINX GOLD 65c a box, $7.20 dozen.

SLEEPER’S CRUCIBLE GOLD “ ‘* sf '
Add two cents postage for each box.
COOVER’S BLACK OUTLINES. CHINA PAINTERS’ SUPPLIES.
K.. E. CHERRY’S COLORS AND ENAMELS.

JESSIE LOUISE CLAPP, 516 McCarthy Blk., SYRACUSE, N. Y.

== ANNOUNCEMENT

PATENT APPLIED FOR

~ J. KAEFER MFG. CO., Hamilton,

The number of Star Wheels sold
since put on the market, is sufficient
evidence of their superiority. Not
one dissatisfied customer.

OUR PRICES ARE RIGHT
We guarantee safe delivery to any parts of

United States or Canada.

Ask your dealer for a STAR Wheel. If he

can’t supply you write direct to us.

LIBERAL DISCOUNT TO JOBBERS

Ohio

PLEASED TO MAIL CATALOGUE TO ANY ADDRESS

’ BOWL—ALBERT W. HECKMAN

i sat See Naturalistic Section, page J, for treatment

: APRIL 1916
ae x .
KERAMIC STUDIO

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KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, MAY {9{5

CUP AND SAUCER, WILD ROSE—ADELINE MORE

AINT flowers with a thin wash of Blood Red to make a
delicate Pink, shaded with same color a little heavier,
centers are Albert Yellow, shaded with Yellow Brown. ‘Leaves
are Apple Green, a little Yellow and Dark Green. Add a little
Brown Green and Shading Green for the shading. Stems are
Apple Green, Yellow Brown and a little Dark Brown. Keep

background light, using Albert Yellow shaded into Yellow
Brown and Violet: Bands, Yellow Brown and a little Dark
Grey. Second Fire. Retouch flowers with a thin wash of Rose,
use the same color as for first fire so the rest of the design
where strengthening is necessary. Paint the remaining’ white
with a thin wash of Dark Grey anda little Albert Yellow.

AERAMIC STUDIO SUPPLEMENT

BANDS—MRS. F,. C. McGAUGHY

(Treatment page

MAY 1915
SUPPLEMENT TO
KERAMIC STUDIO

BELLEEK TEA SET—DOROTHEA WARREN O’HARA

2 | ; ; 7
bf
= ah

KERAMIC STUDIO PUB. Co.
SYRACUSE, N.Y

RERAMIC STUDIO SUPPLEMENT 3

BANDS (Page 2)
Mrs. F. C. McGaughy

O. 1, paint band Ivory Yellow and lines Olive Green.

Flowers are Lemon Yellow, Albert Yellow, Yellow Brown

and Yellow Red with Brown Green used with above colors for

shadows. Keep leavesin warm tones Yellow Green, Olive and
Brown Green.

No. 2, Band is Grey or Lavender Glaze. Narrow bands are
Violet No. 2. Asters are Blue Green, Banding Blue and Violet
No. 2 or Royal Purple. Asters are Lemon Yellow, Yellow
Brown and Sepia.

No. 3, Band is light wash of Chrome Water Green. For-
get-me-nots are Deep Blue Green and Copenhagen Blue.
Leaves are in warm tones of Green. Little leaves and vine
edging band are Copenhagen Blue.

No. 4, Band is delicate Grey Blue band, narrow lines are
Copenhagen Blue. Roses are Peach Blossom and Asters of
Roses with a little Lemon Yellow. Leaves are Yellow Green,
Olive, Grey Green. Shadow leaves and edge of panels are
Copenhagen Blue.

No. 5, Coloring may be same as for No. 4 or for white roses
use a Grey Green band, Grey Green shading and Yellow Green
leaves and use Lemon, Albert Yellow for roses and add a little
Violet or Dark Green for their shadows.

No. 6, Daisies are Lemon and Albert Yellow or Yellow
Brown and Brown Green for shading. Centers are Lemon
Yellow, Brown and Sepia. Leaves are Olive and Brown Green
and Yellow Green. Band may be Light Blue or Lemon Yellow ©
and Yellow Green. Background Ivory. Use same colors in
retouching and use Roman Gold with the warmer colorings
and Green or White Gold with the cooler ones.

£ #

BELLEEK TEA SET (Supplement)
Dorothea Warren O’ Hara
ANDING Blue color was used for outlining flowers and
also for alllinesand bands. Flowers of Old Chinese Pink
Enamel and Light Lemon Yellow for center. Leaves, Green
No.1 Enamel. Mix with Warren’s enamel medium, grind until
very smooth.

APPLE PITCHER—ALBERT W. HECKMAN

TREATMENT No. 1—Dust leaves with Water-lily Green,
apples with Deep Ivory, stems and outline with Mode.
Background a light green.

Treatment No. 2. Leaves a Warm Grey. Stems a Dark
Blue. Apples are a Dull Yellow. Background a Blue Grey
Glaze. ;

RERAMIC STUDIO SUPPLEMENT

wt? Ano sem

WOOD VIOLETS—L. E. HANSCOM

EKAVES, Moss Green underneath and Olive Green above.
Stems of leaves, Moss Green. Stems of flowers, Apple
Green. The flowers range from very pale heliotrope shades
to a dark, rich, reddish purple. For these tones use Violet
No. 1, with Air Blue. Violet No. 1 and Violet No. 2 for the
paler flowers. Use Violet No. 2 with Royal Purple and with
Roman Purple for the darker flowers.
The upper part of the center petal is white. This violet
has a very large center, orange, tipped with pale green.

BORDER OF MOUNTAIN VIOLETS—MELVINA RUSHMORE

BORDER OF MOUNTAIN VIOLETS
Melvina Rushmore
O. 1. Outline with Dark Grey and a little Deep Purple.
Paint light part of flowers with Violet and a little Deep
Blue Green, dark petals with Banding Rlue and Deep Purple.
Stems and leaves with Brown Green, little Yellow Brown and a
little Apple Green. Dark space between flowers Green Gold.
No. 2. Outline with Dark Grey and Yellow Brown.
Print light part of flowers with Albert Yellow and a little Dark
Grey. Dark part with Yellow Brown, Dark Green and a little
Blood-Red. Leaves and stems Apple Green, Yellow Brown
and Dark Grey. The darkest bands are Green Gold. The
wide grey band at the top is Dark Grey and a little Yellow.

WOOD VIOLETS (Page 5)
Treatment by Jessie M. Bard

LOWERS are a pale yellow, purple veined. Use a thin
wash of Painting Yellow and shade with Brown Green
and a little Yellow Violet. Veins are Violet with Deep
Purple for the darker touches. Stems are Apple Green, a lit-
tle Yellow and Dark Grey. Leaves are Apple Green, Shading

Green, Brown Green and Yellow Brown

x
PITCHER (Page 6)
Mrs. F. C. McGaughy

AINT band Chrome Water Green. Daisies in Lemon
Yellow, Yellow Brown and Brown Green, with Copen-
hagen Blue shadows. Leaves are Lemon Yellow, Yellow Green,
Olive and Shading Green. Centers of flowers are Lemon Yel-
low, Yellow Brown and Sepia. Background is Ivory with
shadows of blue and green back of daisies. Gold handle and
top. Same colors used in retouching and some White Enamel

may be used on most prominent daisies.

(7 a8ed juawyves7) NVWTILLS “S adLIVA AP CHHdVADOLOHd—SLATIOIA COOK

AERAMIC STUDIO SUPPLEMENT

(fF a8ed quaurywar I)

AHONVOMW ‘DO “A “SHII—ALLOW ASIVA ‘WAHOLId

FLEUR DE LIS—HELEN J. HULME

SUPPLEMENT TO KERAMIC STUDIO PUB, CO.
KERAMIC STUDIO SYRACUSE, N. Y.

ARERAMIC STUDIO SUPPLEMENT 7

BLOOD-ROOT—PHOTOGRAPHED BY WALTER S. STILLMAN

Treatment by Jessie M. Bard

LOWERS are White. Paint the background and shadows

around the flowers first and then shade flowers with Vio-

let and a little Yellow. Centers are Yellow, shaded with

Yellow Brown and a very little Yellow Red. For flowers use

Violet and a little Blood Red. Stems are Apple Green, Shad-

ing Green and Dark Grey. Light leaves are Apple Green, a

little Yellow Green, Yellow Brown, atd Dark Grey. Dark

leaves are Yellow Green, Shading Green, Brown Green and
Dark Grey.

r°

FLEUR DE LIS—HELEN J. HULME (Supplement)
Treatment by Jessie M. Bard
UTLINE design with Dark Brown, a little Blood-red and
Dark Grey. Paint the background with Yellow Brown
and Brown Green and Violet.

Flowers are left white and shaded with Violet and a little
Yellow Brown for the warmer tones. For the light yellow use
Albert Yellow and the darker tone is Yellow Brown and a little
Yellow Red.

For buds and leaves use Apple Green, Yellow Brown and

Green and for the darker tones add Shading Green and Dark
Grey.
WATER COLOR TREATMENT
Helen J. Hulme

Sketch in the outline with pencil on heavy gray paper. In
the greens use Hunter’s Green and Emerald Green, with touches
of Cobalt Blue and Burnt Sienna in the shadows, and Yellow
Ochre in the half tones. For the high lights mix Chinese White
with Chrome Yellow, letting it flow into the Emerald Green.

In painting the flowers, let the paper be the half tone as
much as possible, at least covering it with only a tiny wash.
For the shadows use blue and red with touches of green where
the reflection comes from the leaves. For the high lights use
fine Chinese White, and for the downy like centers Gambodge
and White with touches of Chrome Orange.

Let all the colors flow freely, keeping the brush full of
color. ‘The brush used for painting this study was a Winsor &
Newton sable brush, No. 6.

Finally outline the whole study with black combined with
a little of the colors used in the shadows, thickening the out-
line wherever one line flows into another. Finish with a
heavier outline the space enclosing the study.

8 HRERAMIC STUDIO SUPPLEMENT

PLATE, THIMBLE BERRIES—JEANNE M. STEWART

ALETTE for berries, Yellow Red, Pompadour Red No. 23,
Pompeian Red and Ruby Purple. Hulls and stems,
Brown, Pompeian and Yellow Brown. Leaves, Yellow Green,
Turquoise Green, Shading Green and Brown Green. Back-
ground, Yellow Brown, Grey and Pompeian Red. :
For the brightest tone in berries, equal parts of Yellow Red

and Pompadour Red No. 23 is used and darkest Pompeian
Red to which is added one-third as much Ruby Purple. After
the berries are laid in the small high lights are wiped out with
small pointed shader. The smaller berries are Yellow Brown
shaded with Ruby Purple. Grey and Pompeian Red make a
good warm grey for background.

KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, JUNE {9{5

ROSE PLATE—DORA V. McCREA

Outline band in Gold. Tint band in Apple Green. Design in Unfluxed Gold. Roses in Peach Blossom with touches
of Rose and Ruby. Centers of roses in Albert Yellow, Yellow Brown and Sepia. Leaves in
Moss Green and Brown Green, a little Sepia in darker places.

ROSE PANEL—LILLIE W. T. BENNETT

DGES of roses are a pinkish cream with deep pink center
Paint edges with a thin wash of Albert Yellow, Dark

Grey and a little Blood Red shaded into Rose toward the cen-
ter, add a little Yellow Brown to the Rose for the shadows.
Rose and a little Blood Red for the heart of the rose. Leaves
are Apple Green, Yellow Green, Brown Green and Shad-
ing Green. Stems are Apple Green, Albert Yellow, Brown

KRERAMIC STUDIO SUPPLEMENT

Green and Dark Grey. Background shaded from Albert Yel-

low to {Yellow Brown, Apple Green and Violet.

SEMI-CONVENTIONAL YELLOW ROSE PLATE
Tallian L. Priebe

AINT leaves of Yellow Green very lightly and Yellow
Brown; shadow leaves with Yellow Brown and Brown
Green. Use Lemon Yellow for roses, shaded with Yellow Brown
and Brown Green. Outline in black. Outside band in
Gold, conventional unit in Hair Brown.

Second Fire—Wash in background in Ivory carrying
same over roses. Retouch leaves and roses with same colors
as used before, with a bit of Yellow Red in hearts of roses.
Retouch outline and gold. Yellow Brown Lustre can also be
used for band on outside instead of gold, and using gold for the
conventional unit, and padding lustre over gold for second fire.

\ Zz

SEMI-CONVENTIONAL WHITE ROSE PLATE
Lillian L. Priebe
AINT leaves with Apple Green, shadows with bit of
Violet and Green; roses with Violet and Lemon Yellow,
hearts of flowers with Lemon Yellow and touch of Yellow Red.
Bands in light wash of Apple Green and dark unit in band and
outline in gold.

ROSE TRAY (Page 3)
Hdith Alma Ross

| pink roses, paint softly with English Pink, and shade

daintily with Apple Green. Paint in the centers with
Grass Green, Albert Yellow and touching in some stamens
with Yellow Brown and a tiny dash of Capucine Red. Paint
stems and thorns with Violet of Iron, Deep Red Brown and
Yellow Brown. Leaves are put in with Grass Green, Dark
Green and some are painted in with greys made of Violet of
Gold and others with Deep Blue Green added to Grass Green
and Albert Yellow. In the thorny band, if the roses are pink,
flush in a soft tint of English Pink. Edge and ornament are
of Gold. If yellow roses are liked, paint them with Albert
Yellow and shade with Yellow Brown and Brown Green with
a soft tint on lower petals of Capucine Red. In this case
paint in a yellow tint to connect the bunches of flowers.

RERAMIC STUDIO SUPPLEMENT

(7 ased juaurtj}ear17)

SsoOa VINTIV HLIGH AVAL ASOa

4 | KERAMIC STUDIO SUPPLEMENT

ROSE TRAY BORDER—LILLIAN L. PRIEBE

HADOW leaves in Violet and Apple Green. Leaves in Second Fire—Wash Ivory over panels and bit of Copen-

Yellow Green. Use Rose color for flowers. Light hagen Blue around roses and leaves. Touch up roses and

wash of Baby Blue on outside band. Dark conventional leaves and accent. Touch up gold. Center of piece left white.
bands and unit in gold.

SUGAR BOWL AND CREAMER—IDA N, COCHRANE

OSES painted in Rose with touch of Brown Green for blanks below roses gold. Rest of cream and sugar pale cream.
shadows. Leaves Yellow Green, Olive Green and Handles gold. Put in all background colors and fire and put
Dark Green. Band Copenhagen Blue. Fine lines and dark gold lines and bands over fired color with unfluxed gold.

RERAMIC STUDIO SUPPLEMENT 5

PLATE—IDA N. COCHRANE

ASH in roses with Aulich’s Rosa. Shadows Brown Green. cream color; outside edge soft shade of green using Yellow
Deep centers Am. Beauty. Leaves in tones of Yellow Green with touch of Brown Green or Yellow Green with touch
Green, Brown Green, Olive Green and Dark Green. Stems of Empire Green.
Brown Green and Auburn Brown. Center of plate delicate

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ROSE BOWL—ADELINE MORE (Treatment meee)

6 AERAMIC STUDIO SUPPLEMENT

JACK-IN-THE-PULPIT
Mary L. Berry
EE Fire—Background—Grey Yellow. Lily, Gold
Grey, light tone of Moss Green for the green touches
in it. Leaves, Copenhagen Blue, Grey for Flesh, Blood Red
toned with a little Black.
_ Second Fire—Mixture of Pearl Grey and Black carried
over the Copenhagen Blue as well.

Third Fire—Very thin enveloping tone, Pearl Grey and
Dark Yellow Brown; if after the enveloping tone hasbeen gone
over the color has fired out, retouch with the colors used for
first fire.

LITTLE THINGS TO MAKE (Page 7)

Dorris Dawn Mills

Foe pitcher, plate with blue and bowl, use light Yellow for

lower tint and Russian Green for blue. For roses use
Rose and a little Yellow on light side. For leaves Albert Yel-
low, Apple Green, Brown Green and Shading Green. Stems
Brown Green, shading Blood Red and Deep Blue Green. For
other rose plate use same colors for flowers and leaves and tint
light Yellow and make conventional design Gold. Pink wild
rose border, use Rose for Flowers, centers Yellow, Yellow
Brown and Brown. Leaves same as others, tint top Rose.
White roses use Apple, Brown and Shading Greens in shad-
ows. Centers a little Yellow, outside border Silver. For yel-
low roses use Yellow, Yellow Brown and Brown. Leaves
Same as others. Salt dip, Yellow Brown at top, Yellow at
bottom. The solidgreen in border is Olive Green outlined in
Brown Green.

ROSE BOWL (Page 5)

Adeline More

pe T roses with a very thin wash of roses and shade with
the same using it a little heavier, add a touch of Violet
to it for the cooler shadows. Leaves Shading Green, Copen-
hagen Blue and Apple Green, the fine line on both sides of the
dark band is of the same. The small dots around the roses
are suggestions of forget-me-nots and are painted with Deep
Blue Green and Banding Blue. The dark band is Gold.
Second Fire—Retouch where it is necessary with the
same colors as in first fire.

CUP AND SAUCER—DORA V. McCREA

Paint roses in Peach Blossom with touches of Rose and Ruby. Leaves in Moss Green and Brown Green. Handle and edges in Gold.

AKRERAMIC STUDIO SUPPLEMENT

LITTLE THINGS TO MAKE—DORRIS DAWN MILLS

(Treatment page

KRERAMIC STUDIO SUPPLEMENT

Wy,
Win Be

JACK-IN-THE-PULPIT—PHOTOGRAPH BY WALTER S. STILLMAN (Treatment page 6)

KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, JULY 1915

PLATE IN WILD CURRANTS—JEANNE M. STEWART

Foe berries Banding Blue, Blackberry, Ruby Purple,
Lemon Yellow and Yellow Green. Leaves and stems,
Turquoise Green, Yellow Green, Brown Green, Shading Green,
Yellow Brown, Wood Brown and Grey. Background, Ivory
Yellow, Grey, Pompeian Red and Blackberry. The berries

are much the color of the blue berry, the smaller ones, not yet
ripe, have light green and purple tones. The blossom end is
in Blood Brown. The background should shade from a deli-
cate Ivory Yellow to soft greys. Grey and Pompeian Red
for the warmer and Grey and Blackberry for the colder tones.

KRERAMIC STUDIO SUPPLEMENT

PLATYCODON GRANDIFLORUM—LILLIAN BAKER STURGES (Treatment page 3)

AERAMIC STUDIO SUPPLEMENT 3

ALPINE HAREBELL—EDITH ALMA ROSS

INERAL colors, Violet of Gold, Deep Blue Green, Albert
Yellow, Capucine Red, Yellow Brown, Warm Grey,
Grass Green, Brown Green, Dark Green, Brunswick Black.

Paint the flowers daintily with a violet made by mixing Deep
Blue Green and a little Violet of Gold, shade with the same.
The centers are painted with Albert Yellow, a very little Yel-
low Brown and a tiny touch of Capucine Red and Grass Green.
The leaves are made by mixing Grass Green and Deep Blue
Green for the cold green with Brown Green and Dark Green
for the darker leaves. Add a touch.or two of Yellow Brown
on some of the dried leaves and a little Violet of Gold on the
delicate stems which join the flowers to the main stalk. The
background has soft pale washes of Albert Yellow in upper
left hand corner shading below into a lavender blue and finally
into indistinct stems and lines in the lower part of panel of a
grayish blue, for which combine Deep Blue Green, Violet of
Gold and a little Brunswick Black. Directly behind the
grassy-like leaves there are washes in the center of the panel
of Albert Yellow and Yellow Brown with grayish shadows
cast below each blossom and leaf. The painting must be very
delicate as this dainty wind flower is very airy and frail looking -
as it blows in the wind on the shores of Wisconsin lakes.

PLATYCODON GRANDIFLORUM (Page 2)
Tallian Baker Sturgess

AINT the flowers with Banding Blue, Baby Blue mixed

with very little Copenhagen Blue. Use Silver Yellow

for centers grayed slightly with Violet. Paint the leaves and

stems Grey Green. For the background use Pearl Grey with

a little Copenhagen Blue. Second Fire—Strengthen the leaves.

Outline and put dark shadows in the flowers with Copen-
hagen Blue.

PLANT ANALYSIS, GLOXINIA—MARY L. BERRY

4 | RERAMIC STUDIO SUPPLEMENT

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EVENING PRIMROSE—ELEANOR N, HARLOW

UTLINE and stamens are Black and a little Dark Grey. Albert Yellow instead of Yellow Brown and add a little Dark
Flowers are Albert Yellow shaded with Brown Green. Brown for the dark touches in the stems.
Stems and leaves are Apple Green and a little Violet and a little Background Albert Yellow, a little Yellow Brown and
Yellow Brown; for the buds and stems around the flowers use Dark Grey or Grey for Flesh.

KRERAMIC STUDIO SUPPLEMENT 5

PLUMS—LUCY MAE SHOVER

UTLINE design in Shading Brown, paint leaves with shade this into Grey combined with a slight portion of Yellow
Brown Green and Apple Green with a touch of Moss Brown for light parts of plums. Use Light Grey for back-
Green for light parts. Use Purple for darkest parts of plums, ground.

6 AERAMIC STUDIO SUPPLEMENT

Mountain Laurel
June

aac |

MOUNTAIN LAUREL—MARION L. FOSDICK

Paint flowers with Rose toward edges, the centers are Yellow for Painting and touches of Apple Green, the stamens are
Blood Red, the leaves are Apple Green and Yellow Green, the stems are Mauve and Blood Red. Second
painting use same colors, paint background with Yellow Brown, Blood Red and Dark Gray.

AERAMIC STUDIO SUPPLEMENT

IRIS—MARION L. FOSDICK

Paint in Iris with Turquoise Blue and Mauve, the buds with Yellow Brown and Brown Green, the stems with Yellow
Brown and Yellow Green, the leaves with Yellow Green, Shading Green and
Copenhagen Blue, retouch with same colors in second fire.

RERAMIC STUDIO SUPPLEMENT

PLATE WITH BORDER OF ACORNS—ADELINE MORE

HE center of the acorn is painted with Albert Yellow and

a little Dark Brown shaded with Yellow Brown, Dark
Brown and a little Brown Green. The cap is Dark Brown
and Yellow Brown shaded with Dark Brown, Brown Green
and a little Blood Red. Light leaves are Brown Green and
Albert Yellow. Dark leaves and stems Dark Brown, Brown

Green and a little Yellow Brown. Shadows are Blood Red,
Dark Brown and a little Violet and shadow stems of the same.
Tint the plate with a thin wash of Dark Brown and Yellow
Brown.

Second Fire—Strengthen where it is necessary with the
same colors as in first fire.

KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, AUGUST 1915

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WILD ROSE PLATE—ADELINE MORE

| Aer are painted with a very thin wash of Rose or tones. Bands are of the darker tone of green. The shading
Pink and shaded with the same using it a little heavier. back of the flowers is Violet. Paint a light creamy tone over

Centers are Albert Yellow shaded with Yellow Brown and a_ the remainder of the border with Albert Yellow and Dark Grey.

little Brown Green. Stamens are Dark Brown and Yellow Second Fire—Retouch where it is necessary with same

Brown. Leaves and buds are Apple Green, Albert Yellow and _ colors as in first fire.

Brown Green, with a little Shading Green added for the darker

KRERAMIC STUDIO SUPPLEMENT

FLOWER ARRANGEMENTS ON SMALL PIECES—DORRIS DAWN MILLS

O.1. White daisy is done in Brown Green and Shading Leaves are Apple Green, Yellow, Shading Green and Brown
Green in shadow, Yellow Brown center. Leaves are Green, paint stems Brown Green. Path around flowers is

Apple Green, Yellow, Brown Green and Shading Green. Tint Russian Green. Tint Yellow and outline in Gold.
Yellow and Apple Green. 8. For yellow roses use Yellow, Yellow Brown and Auburn

2. For roses use Rose with a little Yellow on light side. (Continued on page 8)

HRERAMIC STUDIO SUPPLEMENT 3

HONEY JAR, WILD ROSES AND BEES—ELMA S. RITTER

Use a light Green for leaves, stems, also for cover, shade with Dark Green. For the flowers use Yellow for the centers and
a light Pink shaded with Grey for the petals. For the background, between the stems on both saucer and
jar, use Grey. The bees are Brown touched with Black, wings slightly shaded with Grey.

HONEY JAR, BRAMBLE ROSES—ELMA S. RITTER

The petals of the flowers are White shaded with a little Violet, the centers Yellow, leaves and stems are Green; the back-
ground (indicated by Grey with fine lines on both saucer and jar) should be of Gold.

KRERAMIC STUDIO SUPPLEMENT

PLATE AND BORDER IN GAILLARDIA—NELLIE G, LEYMAN

(Treatment page

KRERAMIC STUDIO SUPPLEMENT 5

Hecilman

APPLE BLOSSOM PANEL—ALBERT W. HECKMAN (Treatment page 8)

RERAMIC STUDIO SUPPLEMENT

Laree sincle petal

WILD FLOWER SKETCHES—FLORENCE WYMAN WHITSON

RERAMIC STUDIO SUPPLEMENT

WILD FLOWER SKETCHES—FLORENCE WYMAN WHITSON

8 AERAMIC STUDIO SUPPLEMENT

(Continued from page 2)
Brown. Leaves are Yellow, Apple Green, Brown Green, Shad-
ing Green and Deep Blue Green. Stems Brown Green, sha-
dows Blood Red and Deep Blue Green. Tint Yellow Brown
at top blended into Light Yellow.

4. For purple Asters use Violet No. 2 with Deep Blue Green.
Centers are Yellow, Yellow Brown and Brown. Leaves are
Yellow, Apple Green, Brown Green and Shading Green. Tint
center Light Yellow. Band Violet, outline in Gold.

5. Flowers are Deep Blue Green with a little Violet in the
shadow part; center is Yellow. Leaves are Yellow, Apple
Green, Brown and Shading Green; shadows are Blood Red and
Blue. Band in Russian Green and tint Light Yellow.

APPLE BLOSSOM PANEL (Page 5)
Albert W. Heckman
ASH in the background with Pearl Grey and Apple Green.
Vary it in the lightest part with added touches of Peach
Blossom and Lemon Yellow. In the darker parts of the back-
ground add Purple Black and Shading Green with a bit of Violet
No. 2. Paint in the leaves with Apple Green, Yellow Green,
Shading Green and Purple Black, Add Pearl Grey and Violet
for the shadow leaves. Wipe out the flowers and buds while the
background is still in a moist state and paint in the flowers with
Pearl Grey and Apple Green, in some places a suggestiontof the
Violet. Reserve the use of Peach Blossom or Rose for the pinks
of the flowers and buds until the second firing. Give the most
prominent flowers a very thin wash of Lemon Yellow. The sta-
mens are Albert Yellow and Yellow Brown and the branches.are
Yellow Brown and Violet.

PLATE GAILLARDIA (Page 4)
Nellie G. Leyman

Brees are painted with Albert Yellow for the light

tones and Yellow Brown and a little Yellow Red for the
darker tones, adding a little Blood Red and Dark Brown for
the darkest touches. Centers are Yellow Brown and a little
Dark Brown for the lights, and add more Dark Brown for the
darker side. Calyx and buds are Apple Green, Albert Yellow
and a little Dark Grey, and add a little Shading Green for the
shading, using the same colors for the leaves. For Background
color in border use Apple Green and Violet for the general tone
and for the dark tone around the flowers add a little Brown
Green. Put a few touches of Banding Green between the
flowers. Small inner band, Dark Brown and Blood Red. The
outer one is Gold.

CONVENTIONAL BORDER (Page 4)
W. G. Leyman

UTLINE with Black. The narrow line at the top of the

dark border and the two small squares in the geometric
figure are Gold.

Second Fire—Paint flowers with Albert Yellow and a little
Brown Green for the lights, and add Yellow Brown for the
darker tone. Centers are Dark Brown and a little Yellow
Brown. Leaves, stems and buds are Apple Green, Yellow
Brown and a little Dark Grey. Large dark space in geometric
figure and the dark band at the top are Dark Brown and a little
Blood Red. Light space in geometric figure is Albert Yellow
and a little Dark Grey. Background in border is a thin wash
of Yellow Brown with a touch of Blood Red and Dark Grey.
Background in lower part is 2 parts Albert Yellow and 1 part
Dark Grey. Go over the Gold again.

- NATURE: STURY
SNAP DRAGON

‘MARY L. BERRY

KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, SEPTEMBER 1915

PLATE, HAZELNUT—ADELINE MORE

J IGHTEST tone on nuts is Albert Yellow and a little Dark

Grey, use same a little heavier for shadows and add a
little Yellow Brown. Caps of nuts are Brown Green and a lit-
tle Yellow with Yellow Brown and Blood Red added for shad-
ing. Leaves are Brown Green and a little Yellow and a little
Dark Brown added for shading. Stems and outer band are

Dark Brown and Brown Green. The wide dark band at edge
of plate is Yellow Brown and Brown Green. Tint over center
of plate with Albert Yellow, Dark Grey and a little Brown Green,
use the same a little heavier for the shadow leaves.

Second Fire—Retouch where strengthening is needed with
same colors as in first fire,

RERAMIC STUDIO SUPPLEMENT

EGG CUP AND TRAY—ALICE B. SHARRARD

INT border a soft purplish pink using Volkman’s Purple V.
Panels are tinted with Grey for pink roses. Paint roses
Purple V, shading with little Ruby in centers. Leaves are
Moss and Grass Green, toning with Mixing Yellow and Shad-
ing Green in dark parts, using bits of Purple V on tips. Small

roses a delicate tint of Purple V, with yellowish green leaves.
Use same colors for tray, border on edge delicate pink, panels
grey with pink rose groups as on the cup. Gold edges finish
the set.

KRERAMIC STUDIO SUPPLEMENT 3

BOWL, POPPIES (Page 5) Dark Brown. The color in the bud is Carnation and Yellow
Kathryn E. Cherry Red. Leaves and stems are Shading Green, Copenhagen Blue
AINT poppies with Carnation for the lightest tone, add a_ and a little Yellow Green; add a little Dark Brown for shading
little Yellow Red for darker tone, and add Blood Red for on buds.
the darkest shading. Centers are Shading Green, Albert Yel- Second fire, oil the background and dust with Pearl Grey
low and Dark Grey. Stamens are Shading Green and a little anda little Albert Yellow.

PLATE, ROSES—ESSIE FOLEY

AINT roses with a very thin wash of Rose and shade with Copenhagen Blue and Violet. Background in the center and
the same using it a little heavier. For the lightest leaves next to edge of plate, Yellow Brown and a little Yellow.
~ use Moss Green, a little Brown Green and Dark Grey; for The conventional design in the center and the two bands
darker leaves, Copenhagen Blue and Shading Green. Stems, are Gold.

4 AERAMIC STUDIO SUPPLEMENT

LL black bands are Gold. Flowers are White. Paint

the dark background around them with Yellow Green,

Apple Green and Yellow Brown and for the darker tones add
Brown Green and Shading Green, the lighter tone above the
flower is Copenhagen Blue and Violet with suggestions of the
same color in the light space also a thin wash of Blood Red

meld

PLATE, CUP AND PITCHER, ORANGE BLOSSOM MOTIF—ESSIE FOLEY

and Yellow Brown. Buds are Yellow Green and Albert Yellow
and flowers are shaded with a thin wash of the same. Centers
of flowers are Albert Yellow shaded with Yellow Brown and a
little Dark Brown. The grey tone over the surface of the
china is a light cream painted with a thin wash of 2 parts Yel-
low Brown and 1 part Yellow Green.

KRERAMIC STUDIO SUPPLEMENT 5

BOWL, POPPIES—KATHRYN E. CHERRY (Treatment page 3)

PLANT ANALYSIS—FLORENCE WYMAN WHITSON

AERAMIC STUDIO SUPPLEMENT

BLUEBELL COLUMBINE OR WILD HONEYSUCKLE

PLANT ANALYSIS—FLORENCE WYMAN WHITSON

RERAMIC STUDIO SUPPLEMENT

ORCHID WILD TIGER LILY

PLANT ANALYSIS—FLORENCE WYMAN WHITSON

KERAMIC STUDIO SUPPLEMENT

PLATE, ORANGE BLOSSOM MOTIF—ANNA H. WALLER

HE dark bands and the lines under the flowers are Gold.
Paint the foliage of all the flowers with Apple Green,

little Yellow Green and a touch of Brown Green for the light
tone and add Shading Green for the darker tone.

white shaded with Violet and a little Yellow. Centers are
Albert Yellow and a little Apple Green. Stamens are Yellow
Brown and Dark Brown.
Flowers are

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KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, OCTOBER 1915

JAPANESE CRANES (Supplement)
Marie White

IL over entire surface of tiles and dust with 2 parts Pearl
Grey and 1 part Ivory Glaze. Wipe out placesfor the
cranes and the moon.

Second Fire—Paint in the trees with Violet, Copenhagen
Blue and ajlittle Deep Blue Green. Sky and shadows of the
same. Dark part of cranes Black, a little Dark Brown and
Copenhagen Blue. Moon is Albert Yellow, Lemon Yellow and
Yellow Brown. Water Albert Yellow, Yellow Brown, Apple
Green, Shading Green and a little Dark Grey.

WATER COLOR TREATMENT OF JAPANESE CRANES
Rhoda Holmes Nichols

In this delicate and excellent rendering of cranes by Marie
White (after the Japanese) the most important thing to think
about is the delicate drawing of the birds and after that the
toning of the background. Should the student make it too
light then the birds would not stand out strongly enough. If
_ too dark the darker feathers would not tell out enough and the

effect of sunlight (even setting sunlight) wouldnot be there. So
to hit this exact tone is not easy unless you leave the pure white
near, it is very deceptive. Cobalt Blue, Lemon Yellow, Rose

Madder and Black are the only colors necessary but Chinese
white can be used at the last with great advantage on the wings
of the birds or wherever a very light note occurs. What-
man’s smooth gold cold pressed paper will be found excellent.
There are also Japanese papers which will give a satisfactory
rendering. First draw very carefully the birds with a pencil
line sufficiently strong to withstand repeated washing, where
the white cuts the sky it is not so important to have the line
firm. Next mix Cobalt Blue, Black, Rose Madder and a very
little Lemon Yellow and wash in the ground. This should
be repeated again and again while it is still wet so that it does
not dry too quickly, because there is a great deal of work to
be done while the wash is still wet. With blotting paper lift
out the place where the moon is and introduce Lemon Yellow
and lower down Rose Madder. Cut the blotting paper and
draw with the edge the white of the wings of the birds and any
other light part in the picture. Next comes the painting of
the trees all to be done while the wash is still wet. The soft
ripples in the water must be put in when wet, the smaller and
sharper ripples when dry. The dark feathers of the birds
must be also painted dry. When everything is done Chinese
White can be added to the plumage not all over but in such
places that will model the cranes

JAM JAR—DORA V. McCREA
UTLINE in Black. First and second bands in Gold; third band in Moss Green.

Tint between bands and behind grapes in Satsuma tint.
Grapes in Purple for Grapes.

Green with Brown Green.

Leaves, in Moss
For darker ones, add a

little Black. Bands around bottom of jar, plate and cover in Gold. Handles in Gold.

fs AERAMIC STUDIO SUPPLEMENT

MARGUERITE STUDIES—IDA UPTON PAINE

LOWERS are white shaded with a little Lemon Yellow
and a touch of Violet. Centers are Albert Yellow and
Yellow Brown. Leaves are Apple Green, a little Albert Yel-
low, Shading Green and Dark Green. Stems are Apple Green,
Albert Yellow and a little Dark Grey.

| a

DANDELION STUDIES (Pages 6-7)
Ruth Mildred Ruck

OLOR treatment: natural colors for sheet of natural

drawings. For conventional drawings—In painting
tall panel use very light tint of Violet for background, Yellow
for flowers, green leaves with lighter green for stems, Yellow
with a little Gray mixed for small panels or spaces, same for
band around panel. This may be carried out with or without
black outline. The four square block designs may have com-
binations of Yellow and Gray, Yellow and Brown, Burnt Or-
ange and Dark Blue. Bands connecting squares may be the
Brown Gray or Blue. Black outline on all if a firm band is
desired. Without black outline if soft effect is needed.

Oval medallion at left may have light blue background
with dark blue in center sections and at each end, with yellow
for remaining sections representing petals of the flower.

Oval to right has yellow petals with small leaf forms along
side and stem forms below of brown, background light tint of
pinkish brown. These two panels show well with black out-
line.

Circle designs—To left center section Yellow, outer sec-
tions Burnt Orange for smaller sections and Dark Blue for

larger spaces, Light Gray tint in background. A circle band
around of darker gray than background or green (dark) may
be effective.

Circle to right—-Two shades of green for leaves and stems.
One shade for one side of leaf with darker shade for the other
side. Make circle band of green, just a shading touch of Grey
for Flowers, black outline. This makes a very clean subject
for a green and white decoration. These designs give oppor-
tunity to work out any color combination desired.

| 2a8s|_4as|| | ax ||Ae||AR PaMe es

BORDERS WITH MARGUERITE MOTIF

Ida Upton Paine

O. 1—Outline and bands in Gold. Second Fire—Paint a

delicate tint of Dark Grey and Yellow Brown over all
the background.

No. 2—Outline with Dark Grey and Copenhagen Blue.
Oil petals of flowers and dust with Glaze for Blue. The cen-
ters are oiled and dusted with 1 Coffee Brown and 1 Ivory
Glaze. Bands are dusted with 1 part Grey Blue and 1 part
Ivory Glaze. Background is painted with Dark Grey and a
little Yellow.

No. 3—Outline and bands in Gold. Background is
painted with a thin wash of Apple Green, Albert Yellow and a
little Dark Grey. Light part of figure is Albert Yellow and
a little Dark Grey and the darker tone is Yellow Brown and a
little Dark Brown.

No. 4—Outline with Black. Edge of petals are 1 part
Warmest Pink and 1 part Special White Enamel shaded toward
center with Warmest Pink Enamel. Centers 1 part Jasmine,

RERAMIC STUDIO SUPPLEMENT 3

1 White Enamel. Leaves Florentine No. 12. Paint back-
ground with Pearl Grey and Rose if a background is desired
but it may be omitted.

No. 5—Paint flowers and petals of buds with a thin wash
of Yellow and add a little Yellow Brown and Dark Grey for
the shading: Leaves and stems Brown Green, Albert Yellow
and a little Apple Green. Outline Dark Grey. Background
Dark Grey and a little Yellow.

Nos. 6 and 7--Outline Gold. Flowers are Yellow Lus-
tre. Stems and leaves Apple Green, Albert Yellow and a lit-
tle Dark Grey. Background Dark Grey and a little Dark
Brown. Banding same color using it heavier and more Dark
Brown. Wide light spaces in No. 7 are Yellow Brown, Albert
Yellow and a little Dark Grey.

[de Uplon Page,

FOR SMALL PIECES, MARGUERITE MOTIF
Ida Upton Paine

IRST plate. Outline with Yellow Brown, a little Dark
Brown and Dark Grey. Paint flowers with a thin
wash of Lemon Yellow shaded with a little Yellow Brown and
Dark Grey. The wide grey bands are oiled for the second
fire and dust with 2 parts Ivory Glaze and 1 part Florentine
Green.

Second Plate—Outline with Dark Grey.

Second Fire—Oil leaves and dust with 1 part Florentine
Green, 1 part Pearl Grey, 1 Ivory Glaze. Oil flowers and dust
with 1 Cameo and 1 Peach Blossom. Oil the large grey space
and dust with Pearl Grey and a little Apple Green.

Hexagon box—Outline with Gold.

Second Fire—Paint light Green Lustre in grey tone back

of flowers and paint a thin wash of Lemon Yellow over flowers.
If a tint is desired paint light green lustre over entire surface
except flowers also over lustre of previous fire. It should be
padded to produce a glaze grey.

Round box—Outline with Dark Grey. Leave flowers
white and shade them with Dark Grey and a little Violet.
Centers are Albert Yellow and Yellow Brown. Leaves and
stems are painted with Apple Green, a little Albert Yellow and
Dark Grey. Background tinted with a thin wash of Yellow
Brown, a little Dark Grey and a touch of Yellow Green.

Square box—Outline with Dark Grey.

Second Fire—Oil dark tint around edge and dust with 1
part Glaze for Green, 1 Ivory Glaze. Oil stems and leaves
and dust with Florentine Green. Oil bud and petals of flowers
and dust with Yellow for dusting and dust the center with
Deep Ivory. A soft tint may be painted over the background
with Dark Grey and a little Yellow.

J ena PRIETO ENON ATS

RATTLESNAKE WEED
Albert W. Heckman

HE flowers are a bright orange yellow and the buds and
stems are purplish green. The leaves are dark yellow

green with reddish spots and veins. For the flowers use
Albert Yellow, Yellow Red and Carnation. Use Apple Green,
Violet and Empire Green for the stems and buds. Use Yellow
Green, Shading Green, Yellow Brown and Ruby for the leaves.

4 RERAMIC STUDIO SUPPLEMENT

DEVIL’S PAINT BRUSH—MARY L. BERRY

eee are a deep, rich Orange. Paint flowers with darker tones. Stems are Apple Green, Yellow Green and a
Yellow Brown, Albert Yellow and a little Yellow Red for little Albert Yellow and Dark Grey. Leaves are Shading
light tones and add Blood Red and a little Dark Grey for the Green, Yellow Green, Brown Green and Dark Grey.

HRERAMIC STUDIO SUPPLEMENT 5

PLANT ANALYSIS, LARKSPUR—MARY L. BERRY

LOWERS are a deep blue. Paint light tones with Band- are Apple Green, Albert Yellow, Yellow Green and a touch of
ing Blue and a little Deep Blue Green. Dark tones are Dark Grey. Leaves are Apple Green, Yellow Green, Shading
Banding Blue, a little Copenhagen Blue and Deep Purple. Green and Dark Grey.
Centers are Yellow Brown and a touch of Dark Grey. Stems

ARERAMIC STUDIO SUPPLEMENT

DANDELION <STUDIES—RUTH M. RUCK

RERAMIC STUDIO SUPPLEMENT

8 KRERAMIC STUDIO SUPPLEMENT

ROSE BOWL—ALICE B. SHARRARD

AINT border at top a dainty tone of Robin’s Egg Blue,
using Gold or Lavender for band on edge of bowl.

For roses use Yellow Pink, leaving curled petal edges almost
white. A touch of Rose finishes centers. Panels, pale yellow
pink, surrounding bands, lavender.@ Small squares Deep

Bye &. Shrarrarcd *

Rose. Stems Grey Green, leaves Moss and Brown Green
with touches of Rose on thorns and tips. The entire bowl
could be tinted light Ivory, using same coloring as above, for
the rose design.

SMALL BOWL, ROSE DECORATION—ALICE B. SHARRARD

AINT roses a soft tone of Peach Blossom Pink, shading
with Mason’s Rose. Leaves, Grass Green and (Apple
Green, with touches of Dark Green. Small leaves at top of
rose cluster wash with equal parts of Apple Green and Rose,
leaving color soft and shadowy. Tint ground behind roses
Ivory with slight tone of Peach Blossom, the Ivory predominat-

ing. Remaining background of panels, delicate Apple Green.
Bands are Deep Violet of Gold, the leaf shaped forms surround-
ing rose panel, Violet and Crimson,toned into soft effect by
adding touch of Dark Green. Small blocks Deep Rose. Band
at top Gold or Violet.

KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, NOVEMBER 1915

CREAMER, CUP AND SAUCER—ESSIE FOLEY

ARK band at edges is Gold. Flowers are white shaded
with Violet and a little Yellow, and a little Yellow Brown

for the warmer shadows. Centers are Yellow with Yellow
Brown stamen. Leaves are a thin wash of Yellow Green with
a little Shading Green and Brown Green for shadows. Shadow

leaves and buds are Copenhagen Blue and a little Violet. Grey
band back of flowers is a thin wash of the same.

Second fire—Tint all over background with a thin wash of
Albert Yellow and a very little Apple Green, and retouch flowers
with same colors as in first fire where it is needed.

AERAMIC STUDIO SUPPLEMENT

CHINESE ARRANGEMENTS OF FLOWERS FROM WATER COLORS LOANED BY MRS. A. B. SMITH

AERAMIC STUDIO SUPPLEMENT

JAPANESE PHOTOGRAPH OF IRIS—LOANED BY MRS. A. B. SMITH

JAPANESE PHOTOGRAPH OF CHRYSANTHEMUM—LOANED BY MRS. A. B. SMITH

RERAMIC STUDIO SUPPLEMENT

PLATE AND BORDER, APRICOTS—NELLIE J, LEYMAN (Treatment page 5)

AERAMIC STUDIO SUPPLEMENT

PLATE AND BORDER, APRICOTS (Page 4)
Nellie G. Leyman

PRICOTS are painted with a thin wash of Albert Yellow
and Yellow Brown and shaded with a heavier wash of
the same with a little Blood Red added for the darkest touches.
Leaves are Apple Green and a little Yellow. Brown for the
lightest tone and a little Shading Green and Dark Grey added
for the shading. Stems are Violet and Blood Red very thin
and shaded with the same. Shadow leaves toward the center
are Banding Blue and Violet, very thin, and toward edge of
plate are Yellow Brown and a little Blood Red, shaded into a
thin tint of Yellow Brown and Albert Yellow around the wide
band. The outer band is Yellow Brown and a little Dark Grey
and the narrow dark lines are Gold.

Conventional Border—Outline with Black and paint the
upper dark band with Gold and fire.

Second fire—Oil leaves and dust with 1 Florentine, 4
Warm Grey, 1 Ivory Glaze. Oil apricots and dust with 1 Deep
Ivory and 1 Yellow Brown. Oil grey band and dust with 1
Deep Ivory and 1 Pearl Grey. Oil remainder of background
and dust with Pearl Grey and a little Yellow Brown.

DOUBLE CHERRY BLOSSOMS—FROM JAPANESE PHOTOGRAPHS LOANED BY MRS. A. B. SMITH

6 RERAMIC STUDIO SUPPLEMENT

LOVE IN THE MIST

Mary L. Berry
LOWERS are a delicate pink and foliage a delicate green.
Paint flowers with a thin wash of Rose and shade with
the same, using it a little heavier. Centers are Yellow and
Yellow Brown. Foliage is Apple Green, Albert Yellow and a
little Yellow Green.

PLATE BORDERS (Page 8)
M.G. Myers

O. 1 (Top)—Bands and scrolls, either two tones of Brown

or Suppressed Green. Gooseberries, Lemon Yellow, Green

and Yellow Red at bottom, Brown Green blossom ends.

Leaves Cool Green. Background warm on left and cool on
right side.

No. 2—Gooseberry design on left. Bands Suppressed
Green. Berries same as in number one. Wide space between
bands Ivory Yellow. Lines and branches between units Gold

No. 8—Grape design on right. Bands Grey Green. Wide
space between bands Cream. Grapes Pink, dark in shadows,
high lights Blue. Lines and vines between units Gold.

No. 4—Bands and berries Red. Leaves Green, blossom
end of berries Brown Green. Wide space between bands Ivory
Yellow. Lines and berries between units Gold.

No. 5—Raspberries Red with Blue in high lights. Leaves
Yellow, Yellow Brown with a touch of Green on shadow side.
Bands same red (suppressed) as in berries. Wide space be-
tween bands Light Yellow Brown. Lines and design between
units Gold.

DESIGN FOR PLAQUE (Supplement)
J. K. Heismann

UTLINE all the parts as indicated. Grey blue lines,

mix 3 Copenhagen Grey to 2? Baby Blue. Coral
is 3 Carnation and 4 Rose put on very thin. Lemon Yellow
for the yellow lines. The edge of plaque is then put on with
Deep Violet and 4+ Banding Blue.

Second Fire—Center of plate put on in light Violet with
little Blue. The band next to edge Light and Deep Violet mixed.
Fill in panels, Yellow Brown mixed with a little Brown Green;
Flowers Russian Green and the wings in colors as indicated.

Third Fire—Wash in band around design and all lavender
parts in Light Violet. This willsoftenthe tones. Care must be
taken to clean violet off all lines and other parts of the design.

PLANT ANALYSIS—FLORENCE WYMAN WHITSON,

DESIGN FOR PLAQUE~—4J. K. HEISMANN

KERAMIC STUDIO PUB. CO.
SYRACUSE, N: Y.

NOVEMBER 1915
SUPPLEMENT TO
KERAMIC STUDIO

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MOUNTAIN ASH—MARGARET HUNTINGTON WATKEYS
NOVEMBER 1915 COPYRIGHT 1915
SUPPLEMENT TO KERAMIC STUDIO PUB. CO.
KERAMIC STUDIO SYRACUSE, N. Y-

RERAMIC STUDIO SUPPLEMENT 7

PLUM BLOSSOM AND BIRD
From Japanese Photograph Loaned by Mrs. A. B. Smith

MOUNTAIN ASH (Supplement)
Margaret Huntington Watkeys

ERRIES—Orange Red, shaded with Capucine Red.
Stems—Deep Violet of Iron for small stems. Larger
stems and branches, Yellow Brown and shade with Dark
Brown. Leaves—Sap Green and Brown Green. Dark Green
Outline with Brunswick Black.

eC
ANSWERS TO CORRESPONDENTS

FE. F. R.—Does Rose Lustre change with age? I used it about a year ago
and the result has lovely rose color. Recently I used it again from the same bottle,
which had remained tightly closed, and the lustre was a dull purple.

Yes, the lustres often change color. A fresh bottle of Rose, however,
will fire purple if fired too hot or applied too heavy.

S. M. R—I have found difficulty lately in firing raised paste. The gold
in the paste remains dark and will not burnish. Would it be possible that too
much turperntine and not enough oil was used in mixing the paste?

No, I do not think your suggestion would be the cause of the trouble, the
paste would not work well when applying it. The paste should be fired before
applying the gold, unless it is quite flat paste work and unfluxed gold should be
used. The lack of either one of these precautions would cause the same trou-
ble that you have had.

N. K. B.—What is the best mediwm for mixing with the mineral colors in
china painting? I have been using 6 parts copaiba balsam and 1 part garden
lavender, but it is not satisfactory.

No. 2—In outlining I use black paint thinned with Campana’s diluting
medium. Very often when dried in an oven the lines bubble and spread around
the surface of the china. What ws the cause?

Your formula is one that is given quite often. There are a number of

good mediums on the market; you will find their advertisements in this maga-
zine, You can purchase them from any art dealer,

We would suggest that you write to Mr. Campana as we are not familiar
with his medium; you probably did not use enough of the medium.

O. M. K.—Could you please tell me where I can get a book telling how to
charge for firing china?

We do not know of any such book. Six inch plates are usually 5c, 7%
inch, 10c, tankards 50e, large cake plates 15c, medium sized cream and sugar
from 73 to 10¢ each, cups and saucers 10c, powder boxes 10c. You can regu-
late prices for other pieces from these prices according to the amount of room
they take in the kiln. Belleek pieces are a little more expensive as they can-
not be stacked.

L. M, F.—Will you kindly send me one or two color schemes for problem 12,
plate 14, page 169 of the Jan. 1915 Keramic Studio

For the cup and saucer the outline and the dark spaces are Gold. Sec-
ond fire, oil the led spaces and dust with Grey Blue. The oiling should be
very thin. For teapot, outline with Black and paint gold over the lined spaces
back of the design Second fire, oi! the bands and dust with Florentine Green.
The wide white space is oiled and dusted with Glaze for Green. All flowers
are olled and dusted with Yellow for Dusting.

Rk. E.—Can you give me the treatment for the Chinese design, copy by Mary
B. Jennings, in August 1915 Keramic?

This will be most satisfactory on Belleek ware or Satsuma and done in
enamels. Outline the design in black. The two outer edges of the large
flowers around edge of design are Wistaria enamel, the next one is Amethyst
enamel and the next half Amethyst and half white, and thenext, 2 parts White
and 1 amethyst. The center of flower is 1 part Amethyst, 1 part White and
a little Warmest Pink. All small centers in design are Orange Red. The
three large petals of half open blossom around the edge are Warmest Pink,
and the three smaller ones are 1 part Warmest Pink and 1 part White. Large
flowers around center circle are Warmest Pink for the outer half petals, for
the next 1 part Warmest Pink and 1 part White, for the next 2 parts White, 1
part Warmest Pink. Tor the center petals use 1 part Jersey Cream and 1 part
White. For the four sectional leaf form between the inner and outer circle
use Celtic Green between the two outer lines, Gold in the next space, Jasmine
in the four small spaces around the circle and Jersey Cream in the circle and
also in the circles in the center. Small leaves in the center are Celtic Green.
All background through the space between edge and center circle is Green Gold,
allow about #5 of an inch space between the design and the Gold. Outer
stems are 1 part Warm Grey and 3 part Amethyst. The small flower be-
tween center circle and square leaf form is Amethyst.

A. A.—Is there a pure bright cardinal red and scarlet, and a pure rich purple
in china colors, as Mawe and Alizarin Crimson in water colors?

2—Must liquid bright gold be pul on thin without brush marks?

3—Can a matt color be painted or dusted over tj it is too thin ajter it is fired?

4—In the dusting method is it necessary to pad all parts oj the design and
must it be smooth without brush marks?

There is no pure scarlet, but Blood Red and a little Carnation will make it.
Deep Purple is a pure rich purple.

Liquid Gold should be applied rather heavy as even as possible without
working over it much, though it need not be as free from brush strokes as
with the lustres,

Yes, it can be dusted over again. If it is painted over it will come out
of the fire with a glaze.

No, it is not necessary to pad the oil, but in that case the oil should be
applied very thin. The oil should be almost all worked out of the brush be-
fore applying to the china. Yes, it should be quite free from brush strokes.

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AERAMIC STUDIO SUPPLEMENT

FRUIT BORDERS FOR PLATES—M, G. MYERS (Treatment page 6)

KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, DECEMBER 1915

PLATE, CUP AND SAUCER, ORANGE BLOSSOM MOTIF—MIRS. LOUISE ELLIS

IRST Fire—Outline in German Black and put on the
gold. The flowers are Warm Grey shaded with Grey

for Flowers. The centers are Albert Yellow with dots of Yel-
low Brown. The leaves are Royal Green shaded with Dark
Green. The shadow leaves are Grey Green and the shadow

flowers are Warm Grey.

Second Fire—Put in the background around the flowers
in Apple Green and let it go over all the shadows and strengthen
the flowers and leaves with the same colors as in the first fire.
The bands are a light Green (Royal Green with a little Royal
Purple).

Strengthen the black outlines and retouch the gold.

2 AERAMIC

SUGAR SHAKER—ALICE B. SHARRARD

gi ets ground with Trenton Ivory or Ivory Lustre, using

Gold for small bands. For roses use Canary Yellow,
Albert and Orange Yellow, adding a touch of red to the Orange
for centers. Leaves, Coalport, Rose Leaf and Sap Green.
Stems and bud, Grey Green and Rose Leaf. Tiny tip of bud
deep Canary Yellow.

STUDIO SUPPLEMENT

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ROSE CUP AND SAUCER—L. E. HANSCOM

IL the pink bands on the rim and also the handle, and dust

with Palma Rosa Salmon, quite heavily. Oil the roses

and dust with Peach Blossom and Rose. Oil the leaves and
stem and dust with Olive Green.

Second Fire—Oil the panels behind the roses and between
them and dust with Apple Green. Outline the panels and
leaves with Shading Green. Outline the roses with Rose and
just a little Ruby Purple.

DESIGN FOR PLATE—DORRIS DAWN MILLS

Put design on in India Ink. Tint dry Old Ivory, outline in Gold and fire.

Paint roses and band with a very light wash

of Blood Red. Leaves and stems Apple Green

RERAMIC STUDIO SUPPLEMENT 3

BUTTERCUPS—M. G. MYERS

IGHTEST tone in flowers is a thin wash of Yellow for
® Painting with a little Yellow Brown added for the warm-
er shading and‘Brown Green for the deeper shadows. Stamens
Apple Yellow and Yellow Brown. Stems, Yellow Green and
Albert Yellow. Leaves of the same for the very lightest tone

with Brown Green and Shading Green added for the darker
tones, and Dark Grey added for the darkest leaves. Shadows
are Copenhagen Blue and alittle Violet. Background is shaded
from a delicate cream, using Yellow for Painting, into Apple
Green, Yellow Brown, Copenhagen Blue and Dark Grey.

4 AERAMIC STUDIO SUPPLEMENT

poker fire, paint violets with Fry’s Violet No. 2 in the dark-

est parts, with a touch of Russian Green on light part
of petals. Centers are Lemon Yellow with a touch of Pompa-
dour in the heart. The leaves are of Royal Green, Shading

DRAWING OF HOLLY

VIOLET CUP AND SAUCER—M. C. MC CORMICK

Green and Brown Green. The background, Primrose Yellow,

Violet and Blood Red. Lines enclosing panels, Gold. Body
of cup and center of saucer, a delicate tint of ivory.

(Treatment page 8)

KRERAMIC STUDIO SUPPLEMENT 5

FLOWER AND FRUIT PLATE BORDERS—M. G. MYERS (Treatment page 7)

6 HERAMIC STUDIO SUPPLEMENT

PEACOCK (Supplement)
Will Rannells

OR the light blue in eyes of feather use Deep Blue Green,

Apple Green, Banding Blue and a little Yellow Green

For the dark blue use Banding blue, Copenhagen Blue and

Deep Purple. For the yellow, Yellow Brown, Albert Yellow

and Dark Grey, a little Yellow Green and Brown Green is

added for the yellow on wings. For the light green tone in

tails use Apple Green, Deep Blue Green, Yellow Brown, Shad-

ing Green. The color is painted in and then the lights are

wiped out. For dark green use Shading Green, Banding Blue,

Yellow Green, Dark Grey and Dark Brown. Blue in bodies

is Deep Blue Green, Shading Green, Banding Blue, Copen-

hagen Blue. Limb of tree, Violet, Blood Red and a little
Ruby and Dark Grey.

Second Fire—Oil the large circle back of peacocks and
dust with 2 parts Yellow Brown, 1 part Albert Yellow, 1 part
Pearl Grey. Oil the grey tone and dust with Pearl Grey and
a touch of Yellow. Wash over peacocks where mussy with
same colors as in first fire.

WATER COLOR TREATMENT
Rhoda Holmes Nicholis

The decorative study of Peacocks by Will Rannells is
particularly well composed and big in feeling and follows
the lead of the Japanese with something of his own added
The spaces are well filled in without being crowded and the big
mass made by the peacock’s tails makes a predominating
form relieved by the drawing of the feathers which prevents
it from being heavy. The orange of the sun is carried down
into the peacocks’ feathers which very much helps the color
scheme. The signature also being orange becomes a part of

the arrangement, whereas the delicate drawing of the twigs
makes a pleasant and almost necessary variety of line. The
absolute flatness of the background and the sun suggest body
color or Chinese white used with all the colors and that is the
treatment which I shall give this time. A rather fine tinted
paper of this color is all that is necessary for the background.
If that cannot be procured, mix Chinese White, Light Red
Yellow, Ochre and a little Cobalt Blue. You will be unable
to match this color exactly therefore mix even more than enough
to cover the paper. With a full brush start from the top to
the bottom never going back after it has once started to dry.
If it is not successful, sponge it all off and try again. The
sun is Orange Cadmium with a little Scarlet Vermillion or
Rose Madder. The birds should be drawn over this background
as if they were done first. The opaque color would obliterate
the drawing. For the breast use Emerald Green, Antwerp
Blue and a small touch of Alizarin Crimson in the deepest
note. These colors run through the tails. The yellow feath-
ers and the yellow in the eyes of the feathers is made with Raw
Sienna, a little Burnt Sienna and a little Chinese White. The
sharpness and brilliancy of touch is most important especially
about the eyes and beek for the most brilliant lights use the
white very thick. The branch should be painted with Burnt
Sienna and Antwerp Blue. Prussian Blue will always take the
place of Antwerp and it is a little stronger. The dark line
surrounding and framing the picture is a part of the whole.

STUDIO NOTE
Miss Helga M. Peterson of Chicago writes that she has
changed her studio from 102 Auditorium Bldg. to her home
1330 Winona Avenue.

MARY L. BERRY

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PEACOCK TANKARD DESIGN—ADELAIDE ALSOP ROBINEAU
REPRINTED BY REQUEST FROM KERAMIC STUDIO OF OCT., 1899

DECEMBER 1915
SUPPLEMENT TO
KERAMIC STUDIO

HIS design is to be carried out with an oriental effect. The base is a
Turquoise Blue or Apple Green, the background of the design beginning
at the top with a dark rich blue, gradually taking a brighter tone toward the
base of design, but keeping dark throughout. ‘The design is carried out in
raised and flat gold and white enamel, the “eyes” of the design being treated
with enamels to give the color effect of the peacock feathers. The peacocks
themselves should be laid in at first with lustres, Brown, Green and Orange,
with Blue Grey thin on head and breast. For the second fire shade the tail
and body with the same colors, touch the “eyes”? with enamels and indicate
the drawing of the feathers with flat gold.
The “eyes” should be Dark Blue with a touch of Black, Apple Green next,

KERAMIC STUDIO PUB. Co.
SYRACUSE, N. Y.

then Orange Yellow shading into Yellow Brown, the rest of the feathers being
brownish green. Another treatment for the background is to use bronzes,
shading into a base of light yellowish brown or a tint composed of Yellow
Ochre with a touch of Red Brown. Lay the entire conventional design in
with flat enamels, black, white, dark green, tan, with the eyes as directed be-
fore, outline with gold or color. Yellow Ochre and Iron Reds will fire out of
Aufsetzweis, so it is best where a tan or red shade is desired, to cover the
space with white enamel for the first fire and paint over the enamel with ochre
or red in the second fire.

Oil of Lavender will be found easier to use than turpentine for flat
enamel washes.

PEACOCKS—WILL RANNELLS

KERAMIC STUDIO PUB. CO.
SYRACUSE, N, Y

DECEMBER 1915
SUPPLEMENT TQ
KERAMIC STUDIO

ARERAMIC STUDIO SUPPLEMENT 7

FLOWERS AND FRUIT PLATE BORDERS (Page 5)
M.G. Myers
N°: I—Ground back of basket, Ivory. Bands, scrolls and
basket, brownish-red. Spaces in basket, subdued
green, also lines below scrolls. Upper edge of scrolls and basket
outlined in gold. Fruit naturalistic: peaches, white grapes
and leaves.
No. II.—Basket, Gold, black outlines.
red. Forget-me-nots soft blue.
No. IJlI—Basket roses on right: Basket gold, black
outlines. Naturalistic roses, white, pink and red. Bands

Roses pink and

DRAWING OF MISTLETOE

either subdued pink or green. Background to harmonize
with bands. Bands outlined with gold.

1V—Basket fruit on left: Ground back of basket rich
cream, with a tint of red in peaches. Basket and bands brown-
ish-green. Fruit naturalistic.

V—Wide band yellow, narrow bands and basket rich
brown. Roses yellow. Outlines darker brown.

VI—Ground between two bands cream. Bands light
blue. Forget-me-nots blue. Basket and outlines gold. Spaces
in basket soft pink.

(Treatment page 8)

8 KERAMIC STUDIO SUPPLEMENT

DRAWING OF HOLLY (Page 4)

| Bae oe are Carnation and a little Blood Red for lights

and a little Ruby added to it for the shading. Leaves
are Shading Green, a little Yellow Green and Dark Grey.
Stems are Dark Grey, a little Violet and Yellow Brown.

ee
PLATTER (Supplement)

Florence R. Weisskopf

A™ dark brown tones may be Gold or may be oiled and

dusted with 2 parts Coffee Brown and 1 part Dark Brown
If gold is used outline the white petals of flowers with it.

Second Fire—Oil yellow centers of flowers and dust with

Deep Ivory and Yellow Brown, equal parts. Oil background
and dust with 2 parts Pearl Grey, 1 part Ivory Glaze and just
a little Albert Yellow and Yellow Brown. If gold has been
used, retouch it in this fire.

£ €
DRAWING OF MISTLETOE (Page 7)

UTLINE berries very lightly with Dark Grey. Berries

are almost white. Paint the very faintest suggestion

of Dark Grey and Albert Yellow over them and shaded with

Violet and a little Dark Grey. Leaves are; Apple Green,

Dark Grey, a little Albert Yellow and Shading Green. Stems
are Dark Brown and Dark Grey.

PLATE, ORANGE BLOSSOM MOTIF—E. J. McGAUGHY

LOWERS are White, shaded with a thin wash of Yellow
and a little Violet. Stamens are Yellow Brown with
Albert Yellow for the center. Leaves are Apple Green and a
little Albert Yellow with Dark Grey added for the shading.

Stems are Brown Green and Yellow Brown.
is Yellow Brown and a little Yellow Green.
bands are Brown Green and Blood Red.

Wide grey border
The outer dark

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ROSES-JEANNE M. STEWART

JANUARY 1916 COPYRIGHT 1916
SUPPLEMENT TO KERAMIC STUDIO PUB. Co.
KERAMIC STUDIO SYRACUSE, N.Y.

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KERAMIC STUDIO SUPPLEMENT

SYRACUSE, NEW YORK, JANUARY 1916

DESIGN FOR PLATTER (Supplement)
F. R. Wesskopf

AREFULLY outline entire design in India ink. Tint
entire surface with Silver Yellow keeping tone as heavy
and even as possible. Carefully clean out flowers, bands and
leaves keeping outlines sharp. Paint in bands and leaves
and stems in Brown Green. ‘The calyx of the flower is Orange

and the flowers themselves are left white.

ROSES (Supplement)
Jeanne M. Stewart
ALETTE Roses: Rose, Ruby Purple, Lemon Yellow,
Ege Yellow, Yellow Brown, Grey and Wood Brown.
Leaves, Lemon Yellow, Yellow Green, Brown Green, Shading
Green and Grey. Background Ivory Yellow, Grey, Yellow
Brown and ‘Turquoise Green.

Rose is used in very thin washes

in lighter tones in flowers and 2 parts Rose and 1 part Ruby
Purple in darker tones with strong accents of Ruby Purple.
A mixture of Grey, Ivory Yellow and Rose makes the shadows
on flowers, edges of which are padded into background and
high lights wiped out.

x
CUP AND SAUCER (Page 8)
E. L. Miller.

UTLINE blossoms with a fine outline of Dark Grey; blos-

soms on left, white. Stamens are Albert Yellow and a

little Yellow Brown. Leaves are Apple Green, a little Albert

Yellow and Yellow Green. Buds are a thin wash of Albert

Yellow. Shadows are Violet and a little Yellow Brown. Wide

grey band is Apple Green and a little Violet. Dark bands and

the fine lines are Gold. In the second fire put a very thin wash

of Lemon Yellow over the blossoms, just enough to take the
hard white effect from them.

BISCUIT JAR—IDA UPTON PAINE

AY in daisies with Copenhagen Grey, centers with Albert
Yellow and Chestnut Brown. Outline conventional
design Copenhagen Grey with one-third Copenhagen Blue
added, then fire. Second Fire—Tint entire jar with Copen-

hagen Grey, after touching up daisies.

Third Fire—Deepen centers of daisies with Chestnut
Brown. Finish stems with Moss Green and Shading Green.
Wash conventional bands with Copenhagen Grey.

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STUDIES OF BITTERSWEET—FLORENCE R. WEISSKOPF

ARERAMIC STUDIO SUPPLEMENT

(Treatment page 4)

WEISSKOPF

—F, R

BITTERSWEET

PANEL,

4 . HERAMIC STUDIO SUPPLEMENT

with 2 parts Mode, 2 parts Pearl Grey, 14 part Dark Grey. Oil
background and dust with 3 parts Cameo, 14 part ‘Mode, 1%

DETAILS FROM BITTERSWEET

PANEL, BITTERSWEET (Page 3)
F. R. Weisskopf.

UTLINE design with Dark Grey and a little Black.
Second fire.—Oil dark stems and dust with 2 parts Dark

Grey, 1 part Dark Brown. Oil berries and dust with 2 parts
Yellow Red, 1 part Blood Red, 1 part Ivory Glaze. Oil caps
of berries and dust with 2 parts Yellow Brown, % part Dark
Grey, 1 part Ivory Glaze. Oil dark part of leaves and dust
with 2 parts Florentine Green, 144 part Brown Green. Oil light
part of leaves and dust with 2 parts Glaze for Green, 44 part
Brown Green. Oil perpendicular lines in background and dust

part Dark Grey, 3 parts Pearl Grey.

PLATE BORDER, ORANGE BLOSSOMS
Eula L. McElhinny

ASH in the shadows around blossoms with Yellow
Brown, Violet and a few strong touches of Blood
Red. Blossoms are White shaded with a little Violet. Cen-
ters are Albert Yellow and stamens are Yellow Brown. Bands
are shaded with Albert Yellow and a little Yellow Brown.-
Stems are Apple Green. Light grey bands are Deep Blue

Green and a little Turquoise. Dark bands are Gold.

PLATE BORDERS (Page 5)
M.G. Myers
O. 1-Wide outer band and narrow central one Blue
Grey. Space between bands, soft Pink. Bands out-
lined in Gold, also leaves and stems between the units. Flowers
Pink, leaves cool Green.
2-Wide band above roses, Ivory. Roses Pink. Scrolls
and bands outlined in Gold.
3-Wide band is Violet.
lines.
4—Wide and narrow band, soft Green. Gold lines. Holly
wreath, Red and Green.

Double violets, naturalistic, Gold

ARERAMIC STUDIO SUPPLEMENT 5

Mee ea ee SP ee PN tek Mo Muers..

PLATE BORDERS—M. G. MYERS (Treatment page 4)

RERAMIC STUDIO SUPPLEMENT

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KRERAMIC STUDIO SUPPLEMENT

VIOLET PLATE—MRS. IDA N. COCHRAN

Violets painted in a Red Violet and a darker Blue Violet. Leaves Yellow Green, Olive Green, and Dark Green. Stems Yel-
low Green and Olive Green. Narrow bands Empire Green. Space between bands Apple Green.
Lines outlining bands in Empire Green.

8 KERAMIC STUDIO SUPPLEMENT

PLATE, CUP AND SAUCER—N. L. ELLIS

Outline with black bands, Royal Green with a little Royal Purple. Blossoms, a thin wash of Albert Yellow shaded with
Warm Grey and a little Grey for Flowers. Leaves, Yellow Green shaded with Brown Green and Shading
Green. Centers, Albert Yellow with dots of Yellow Brown and AuburnBrown.

CUP AND SAUCER, ORANGE BLOSSOM MOTIF—EDITH L. MILLER

_ CRONESBILL
ia PH Wutieys

CRANESBILL
M. H. Watkeys

UTLINE is Black. Flowers and buds are painted with
Rose.
is Apple Green and a little Albert Yellow. The next darker
tone of green is Apple Green, a little Yellow Green, Shading
Green and Dark Grey and for the darkest tone add more
Shading Green and a little Black. Background is a thin wash

of Albert Yellow and a little Yellow Green.

¥
BIRD VASE Color Study
Katherine Lindsey Perkins

with Grey for Flesh. Then paint in smooth and
flat the black masses. Put Lemon Yellow on bird; Pink and
Pink mixed with Yellow Red or Carnation for the bright tones;
also the same colors with Yellow and Yellow Brown, put
on flat for the leaves.

Second Fire—Tint with medium not special oil. Yellow
in center running into Pink and Violet toward the top and Pink,
Violet and Copenhagen Blue towards the bottom. After
quite dry dust with Lavender Glaze. Wipe out white petals.

Third Fire—Strengthen colors where necessary, then
add fine outlines on bird and colored outlines on leaves.

- cod

Mrs. S. Evannah Price of New York City is now estab-
lished at her new studio, 111 East 19th St. where in addition
to her classes in porcelain decoration she also gives instruction
in Oil and Water Color Painting, Composition and Design.

NATURALISTIC SECTION OF KERAMIC STUDIO

SYRACUSE, NEW YORK, FEBRUARY 1916 iss

Stems and calyx and lightest tone in leaves .

BLEEDING HEART (Page Nations! Must

UTLINE is Dark Grey and a little Black. Lightest leaves

are painted with Apple Green and a little Albert Yel-

low and shaded with same with Yellow Green and a little Brown

Green added. Lighter leaves at the top are Apple Green,

Yellow Green, Dark Grey and a little Shading Green with

more Shading Green and a little Brown Green added for

the darkest leaves. Stems are the two lightest mixtures

for leaves. Flowers are a very thin wash of Rose for the light

with a little Blood Red added for the shading. The pistil

is white with the spots of the darkest Pink with Albert Yellow

in the space next to the blossom. Background is Lemon
Yellow shading into Violet and Apple Green.

OUMACH
PEH Wir tkeys

SUMACH

M. H. Watkeys

UTLINE with Black. Wash a flat tone of Blood Red
and Carnation over the light tone and Blood Red, a

little Ruby and Dark Brown over the dark tone and wipe out
the lights. The light tone in the blossom in the background
is Blood Red, Violet and Dark Grey and for the darker tone
and the dark part of stem add a little Deep Purple and more
Dark Grey. Light part of stem is Yellow Green, Violet and
Dark Grey. The leaf stems are Blood Red and Violet. Light
leaves are Apple Green, Albert Yellow and a very little Yel-

low Green. Dark leaves are Yellow Green, Shading Green
and Brown Green. Background is Dark Grey and Apple
Green.

NATURALISTIC SECTION OF KERAMIC STUDIO

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NATURALISTIC SECTION OF AERAMIC STUDIO 3

PEUNTAIN LAUREL

MOUNTAIN LAUREL—W. H, WATKEYS (Treatment page 8)

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NATURALISTIC SECTION OF KERAMIC STUDIO

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BOUNCING BET—M. A. YEICH

reatment page

NATURALISTIC SECTION OF AERAMIC STUDIO 5

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CONVENTIONALIZATION OF BOUNCING BET—M. A. YEICH (Treatment page 8)

NATURALISTIC SECTION OF KERAMIC STUDIO

WILD CLEMATIS
PHAIW wikegs

WILD CLEMATIS—M. H. WATKEYS (Treatment page 8

NATURALISTIC SECTION OF KERAMIC STUDIO 7

BLEEDING HEART—M. H,. WATKEYS (Treatment page J)

8 NATURALISTIC SECTION OF KRERAMIC STUDIO

WILD COLUMBINE

M. H. Watkeys

UTLINE with Black. Outside petals are Rose for the
lightest tone and a very little Ruby added for the shad-

ing. Wash the very faintest suggestion of Lemon Yellow or
Yellow for Painting over the stamen and the dark petal just
above the stamen is Albert Yellow. Stems and lightest leaves
are Apple Green and a very little Yellow Green and for the
dark leaves add Shading Green and Brown Green. Back-
ground is a thin wash of Dark Grey and a little Yellow Brown

MOUNTAIN LAUREL (Page 3)
M. H. Watkeys

UTLINE with Black. Dark leaves are oiled and dusted
with 3 parts Water Green No. 2 and 4 part Bright Green.
Light leaves are oiled and dusted with 2 parts Florentine
Green and 1 Grey Blue. Stems are oiled and dusted with
Mode. Dark blossoms are oiled and dusted with equal parts
of Cameo and Peach Blossom and the light blossoms are Cameo.
Background is oiled and dusted with 2 parts Ivory Glaze, 1
Pearl Grey, 4 part Yellow for Dusting.

BOUNCING BET (Page 4)
M. A. Yeich

AINT flowers with a very thin wash of Rose (the color
should be almost white), shade with a little Violet added

to the Rose, wipe the color out for the stamens and add Yellow
Brown and a little Dark Grey for the tips. The light ends of
buds are of the Pink. Stem, leaves, calyx and all dark tones
are Apple Green, Yellow Green and Brown Green for the
jight tone, Shading Green, a little Yellow Green, Brown Green

and Dark Grey for the shading. Background is Pearl Grey
and a little Deep Blue Green.

CONVENTIONALIZATION OF BOUNCING BET (Page 5)
M. A. Yeich
ORDER No.1. Outline and dark spaces are Green Gold.
Flowers are oiled and dusted with Yellow for Dusting
and the stems with Florentine Green.

No. 2. Oil all dark tones except calyx and dust with
Florentine Green. Oil calyx and dust with Mode and a little
Grey. Outline flowers with Dark Grey and a little Mode.

Second Fire—Oil flowers and dust with Cameo and the
tips of leaves with Glaze for Green and a little Yellow.

No. 8. Oil flower and dust with Cameo. Oil the small
space above flower and dust with Glaze for Green. Stems
and dark space leading into it are Green Gold.

Nos. 4-5. Oil all the dark part of design and dust with
Florentine Green and a little Coffee Brown. Outline flower
with Dark Grey and Albert Yellow.

Second Fire—Oil light part of leaves and dust with Glaze
for Green and a little Albert Yellow. Oil flower and dust
with Yellow for Dusting.

WILD CLEMATIS (Page 6)
: M. H. Watkeys

UTLINE and stamen are Black. Center of flower is

Lemon Yellow or Yellow for Painting. The small

stems are Blood Red and Violet very light at the tips with more

Blood Red added for the darkest tone. The long heavy stem

is Apple Green with Shading Green and Brown Green added

for the shading. Light leaves are Apple Green and a little

Dark Grey with Shading Green and a little Black added for

the dark leaves. Background is Copenhagen Blue and Band-

ing Blue for the darker tone and Deep Blue Green for the
lightest.

ee €

CUP AND SAUCER, SHAKER AND CREAMER
Orange and Green Color Study
Albert W. Heckman

HE designs for cup, saucer, shaker and creamer were made

to be carried out with enamels on Belleek ware, but

they may also be done with good effect on Sedji, French and
German china. Following are the treatments.

For Belleek ware.—Use orange enamel for orange parts
of the design. Some dark yellow enamels approach this orange
in color and may be used. Use light yellow enamel for lighter
shade of orange in ornament on the pitcher. It is advisable
to make a few preliminary tests to match the green. Take
two parts Grey Green number one and one part Dark Green.
If this fires out too cold add one-half part light Yellow.

For Sedji ware.—Execute all the green parts of the de-
sign in Canton Blue. In place of the light yellow in the de-
sion use pure Emerald Green and instead of the orange use
bright blue enamel.

For French and German china.—First tint the whole piece
with Trenton Ivory and fire. The design may be carried out
im the extra hard enamels which are now on the market, Moss
Green, Yellow No. 1 and Yellow No. 2, or Green Gold may
be used in place of the Moss Green enamel. If gold is used
outline the orange dots with it.

NATURALISTIC SECTION OF KERAMIC STUDIO

SYRACUSE, NEW YORK, MARCH 1916

SHELL PLATE
Adeline Moore.

es large shell is a creamish white with pinkish lights.
For shading use Apple Green and Mauve. The pink
tones are Pink. The large fiat shell is Pink, Deep Blue Green
and Auburn Brown. Background is Blood Red for Coral,
Yellow Brown, Apple Green for sea weeds. The fiat color is
Yellow and Copenhagen Blue washed on in thin washes.

LEMONADE PITCHER (Page 2)
Adeline Moore

KETCH design in. Use Banding Blue, Royal Purple
for dark, Violets, Deep Blue Green and Mauve for. lighter
ones. A touch of yellow Red in centers. The leaves are Apple
Green, Yellow Green and Brown Green. The background is
Copenhagen Blue, Sea.Green, Mauve, Yellow Brown. Stems
are Blood Red and Mauve. Use same colors in second firing.

SHELL PLATE—ADELINE MORE

LEMONADE PITCHER—ADELINE MORE (Treatment page 1)

NATURALISTIC SECTION OF KERAMIC STUDIO 3:

PLATE, WHITE ROSES—ADELINE MORE

KETCH design in, then paint leaves around flowers with
Shading Green and Apple Green with touches of Mauve,

then the lighter leaves with Yellow Green and Yellow for Paint-
ing. The flowers are made with Apple Green and Pink in

very delicate washes. The centers are Yellow Brown and
Albert Yellow. Use same colors in background using the

Copenhagen Blue around large bunches, use Sea Green toward
edge of plate.

NATURALISTIC SECTION OF KERAMIC STUDIO

GAME PLATE—ADELINE MOORE

Paint heads of ducks with Shading Green, Banding Blue, a little Black. Yellow Green and Shading Green on
breasts. Auburn Brown and Shading Green for wings. Use Copenhagen Blue, Apple Green
and Mauve for color around ducks; in distance use Yellow and Sea Green.

NATURALISTIC SECTION OF KERAMIC STUDIO

FISH PLATE—ADELINE MORE

a pees? design in, then paint fish with Yellow Green,

Yellow for Painting, a little Mauve. The darker tones
in fish are Dark Green with just a little Yellow Green. Keep
the fish in background greyer, do not use quite as much Yellow
and Yellow Green. Paint the background with Copenhagen

Blue, Apple Green, Yellow. The dark touches are Mauve
and some Dark Grey.

Second Fire—Use same colors used in first fire leaving
lights quite clear.

6 NATURALISTIC SECTION OF KRERAMIC STUDIO

DINNER SET—KATHRYN E. CHERRY

RACE in outline of design, then oil the dark blue bands
with Dusting Medium, then dust with K. E. Cherry’s

Dark Blue For Dusting, clean edges, then put on the gold,
which is on the solid black bands, then paint in flowers with

Turquoise Blue, Banding Blue, Copenhagen Blue, The cen-
ters are Albert Yellow, Yellow Brown. The green is Moss
Green, Shading Green. Next fire—paint the background with
Deep Blue Green and a little Sea Green.

NATURALISTIC SECTION OF KERAMIC STUDIO

ER a

DINNER SET—KATHRYN E. CHERRY

eine

(Tratment page 6)

ADELINE MORE

BUNCH OF VIOLETS

CONTAUREA AMERICANA (Color Study, Page 169)
Jos. Kallaus

HITE flowers shaded with Albert Yellow and Grey for

Flowers, centers and buds more yellow, partly mixed

with Yellow Ochre; darkest places Yellow Brown, partly mixed

with Blood Red. For purplish flowers use Select Rose Purple,

in purplish places mix more or less with Light Violet shaded

with Carmine. Purple and Carmine Purple mixed with Light
Violet; darkest places Violet and some Black mixed with it.

sees cet
there nc ct se

Sern oc RST AR MSD RETA OES SE 5 STE SRR 5 SIPS SESIT OM mn
Ss acer

@ gee design with India ink. Then oil and dust
the green with K. E. Cherry’s Florentine Green. Then
paint in panels, using Albert Yellow, Yellow Brown and Yel-
low Red. The leaves are Moss Green and Albert Yellow
and Brown Green. The flowers are Mode and Yellow Brown.
The background is Lemon Yellow and just a little Brown
Green. Then put the Gold in. .

sue Se

BOWL—KATHRYN E. CHERRY

NATURALISTIC SECTION OF RERAMIC STUDIO

pescadage gas ee

KATHRYN E. CHERRY

SECTION OF BOWL

DINNER SET (Design in Green and Gold, Page 171)
May B. Hoelscher

HE green places are oiled and dusted with Florentine

Green or they may be painted with 2 parts Apple Green,

1 part Yellow Green and a little Dark Grey. Use Green Gold
for the Gold spaces. a

Second Fire—Patch up the green in the dusted parts.
Then paint the orange with Albert Yellow and Yellow Red,
touch in the dark green places in leaves with Shading Green
and Brown Green, then paint in the shadow side of buds with
Brown Green and a little Mode very delicately. Then go
over the gold again and paint in the inside of bowl with Lemon
Yellow and a little Apple Green.

NATURALISTIC SECTION OF KERAMIC STUDIO

SYRACUSE, NEW YORK, APRIL 1916

BIRDS AND PINE CONES—ADELINE MORE

AINT birds with Yellow Brown, Meissen Brown and

Black for backs and tails; heads with Yellow Red ‘and

Carnation. Throats with Albert Yellow. The breasts are

Mauve and Copenhagen Blue. Cones are Yellow, Yellow

Brown and Blood Red. Background, Yellow, Mauve, Copenha-

gen Blue, Brown Green and Blood Red. Second Fire—Use same

colors used in first fire; strengthen the dark colors and put in the

dark accents and the washes of clear yellow over the light in
background.

x
CHESTNUTS (Color Study)
Jeanne M. Stewrt.

ALETTE—Yellow Brown, Wood Brown, Chestnut Brown,
Pompeian Red, Banding Blue, Brown Green, Shading
Green, Yellow Green, Turquoise Green, Ivory Yellow and
Yellow Red. The nuts are a rich reddish brown made by mix-
ing Chestnut Brown and Pompeian, with lighter tones in a
thin wash of Banding Blue. On the soft velvety lining of the
burr a bright touch of Yellow Red is used. If design is used
on nut bowl or plate the background should be kept very dark
round principal part of design and towards edge of plate,

shading from Chestnut Brown to Yellow Brown. Leaves are
painted in warm greens and are thrown under background in
the last fire.

cae

BOWL (Color Supplement)
Albert W. Heckman

OR German or French Hard China.—First fire, tint the whole
bowl with Trenton Ivory. Second fire, oil all the blue of

the design with special tinting oil and dust with Water Green 2
parts and Glaze for Blue 1 part. The flowers and buds may be
left white as in the illustration or they may be colored. If

. colors are used, dust the flower with yellow, a tone darker than

the background. Use deep Ivory for the buds.

For Belleek or Satsuma.—Enamels may be used with good
effects. A color scheme such as the above may be used or, if
one cares for a color scheme of bright reds and yellows, the fol-
lowing is suggested: Use Vermillion for the buds, Orange for
the flower forms, Ochre outlines and Golden Yellow for the yel-
low leaf form. In place of the blue in the design use a dark
green of the following mixture: two parts Golden Yellow, one
part Nankin Blue and a half part Orange.

2 NATURALISTIC SECTION OF KRERAMIC STUDIO

TEA SET—WALTER KARL TITZE (Treatment page 3)

NATURALISTIC SECTION OF KERAMIC STUDIO 3

TEA SET (Page 2)

> Walter Karl Titze
O those who have difficulty in keeping the drawing firmly
fixed in their minds, I would suggest drawing carefully
with India ink or water black, the design. Oil the entire sur-
face of the sugar and creamer with special tinting oil and with
a clean pad, changing the pad often, pad until no oil seems to
stick to the pad. Allow to stand a while then dry dust with 2
parts Reynold’s Paris Brown and 1 part Cherry’s Mode. Let
this stand for about an hour, then with an orange wood stick,
cut out the roses and stems. Paint the roses with Albert Yel-
low shading with Yellow Brown and Brown Green. Centers
Yellow Brown and a little Yellow Red. Leaves are Yellow
Green. Stems to be left white.

Second Fire—Retouch roses with same color as in first

fire. The dark brown stems and leaves are Paris Brown and
Hair Brown.
The borders are worked in the same way.

HOLLYHOCKS (Page 8)

UTLINE with Dark Grey and Yellow Brown.

Second fire—Oil leaves and dust with 3 parts Water
Green No. 2, 1 part Water Lily Green, 3 parts Pearl Grey. Oil
stems and dust with 2 parts Dove Grey and 1 part Mode. Oil
flowers and dust with Yellow for Dusting.

Second fire—Oil over background and dust with 3 parts
Pearl Grey, | part Dark Grey, 4 part Deep Ivory. Paint the
shading in the flowers with Yellow Brown and Dark Grey, and
the very darkest touches with Yellow Brown and Blood Red,
with touches of Dark Brown.

BOWL OR PLATE DESIGN—WALTER KARL TITZE

‘4 I ‘HIS design can be used either as a plate or the inside of

the new Nippon bowl with handles. Trace birds and
spider webs in carefully. Oil and dry dust with one part Ivory
Glaze and three parts Mode. Allow to stand and then with a
stick cut out the birds and spider web. Web to be left orange
white. Fire.

Second Fire—Paint in the violets over the dusted surface.
The undertone of Mode is an excellent surface for the violets
and leaves. Breasts of the birds are painted with Yellow
Brown. Wings are Olive Green and tail, ends of wings and
head are Black.

NATURALISTIC SECTION OF KERAMIC STUDIO

FULL SIZE SECTION OF VASE (Page 5)—KATHRYN E. CHERRY

NATURALISTIC SECTION OF KERAMIC STUDIO 5

AST AMSA 7 FRY PDS Ys CNA RS, RLS ET LAT SET OT

VASE—KATHRYN E. CHERRY

Te design in carefully, then outline with Dark Grey

(K. E. Cherry colors), fire. Second Fire—Oil the leaves
and dust with Deep Ivory 2 parts, Pearl Grey 2 parts, Yellow
Green 1 part. Oil the stems, dust with Mode 4 parts, Dark
Grey 1 part. Oil the flowers, dust with Yellow for Dusting
and Ivory equal parts then fire.

Third Fire—Oil the vase, pad very dry, dust with Pearl
Grey 4 parts, and Mode and a little Deep Ivory, clean out
flowers. Paint centers with Yellow and Yellow Brown. Seeds
with Yellow Red and Yellow Brown.

Last Fire—Touch design until it is a good copy of study,
paint over stems where necessary.

6 NATURALISTIC SECTION OF KRERAMIC STUDIO

OA)

Lin Mi) é
WE . At

QUINCE—MARION L. FOSDICK

AINT fruit with Apple Green, Dark Grey and a little Grey. Leaves are Apple Green and a little Yellow Brown
Yellow Green and shade with same adding a little anda touch of Yellow Green. Stems are Dark Grey, Yellow

Shading Green and Yellow Brown. The dark markings at Brown and a little Dark Brown.
the end are Yellow Brown, Dark Brown and a little Dark

NATURALISTIC SECTION OF AERAMIC STUDIO 7

two bands at the top,of box and the band below the roses are
Gold.

SATSUMA BOX, ROSES
Kathryn E. Cherry SALT SHAKER
AINT roses with a very thin wash of Albert Yellow and Ida Nowels Cochran

add a little Yellow Brown for the shading; for centers Ree painted in Rose with touch of Brown Green for
use Yellow Brown and a little Blood Red. Light leaves are deepest shadows. Leaves, Yellow, Olive Brown and
Apple Green and a little Violet. Dark leaves and stems are Dark Green. Shadows, Brown Green. Stems, Auburn
Apple Green, a little Shading Green and Dark Grey. Shadow Brown and Brown Green. Background, soft shade of green
leaves, Violet and a little Yellow Brown. Background, Albert made by using Yellow Green and Dark Green. Panels cream

Yellow and a little Apple Green. Outer band on the lid, the color. Top, gold.

SMALL GRAPE PICKLE DISH—DORIS DAWN MILLS

Use Blood Red for grapes with a little Yellow on light sides. Leaves Albert Yellow, Apple Green, Brown Green and Shading
Green. Stems Brown Green also lines around band and dark spots. Band Olive Green with a touch
of Brown Green. Center light cream and handles and edge Gold.

NATURALISTIC SECTION OF KHERAMIC STUDIO

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HOLLYHOCKS

(Treatment page 3)

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